TRANSFORMATION OF BERHSONIZM IN FUTURISM AESTHETICS

Abstract

Berhsonizm concept became one of the most important components of a number of leading avant-garde movements in the early twentieth century. Like revolutionary art trends that sought to rethink the classic perception of art and the creator and his ontological role within it, avant-garde artists enthusiastically took up teaching, in which spiritual, intuitive activity is aimed to make the reality recognizable. A new form of avant-garde was conceived by artists in the light of nonclassical understanding of space and time. The problem of correspondence of Bergson doctrine and its implementation in the creative concepts of the last century is quite a relevant subject. It was developed by L.Levchuk, I.Duhan, M. Sirotkin, Ye.Bobrynskaya, Ye.Rovenko, H.Berkhaus, Sh.Duhlas, M.Braun, R.Kolhaun and others. This research aims to analyse the compliance of philosopher’s ideas and their practical implementation in theoretical and practical works of Futurism. Indisputable is parallel of Berhson concept of duration and futuristic dynamism theory. In study of the Italian futurist T.Marinetti and Bergson there are correspondences with voluntarism, vital impulse, intuition, duration from the Bergson’s side and the concept of "wireless imagination", rejection of syntax’s authoritarian rule and a word as intuitive perception of the world. Marinetti theories were very close to Berhson’s images of time self-consciousness, duration and subject, but the artist disagreed with the philosopher in the final aim. It was important for him to unleash the potential of matter, Technology spiritualized by Marinetti – a new life form that will initiate the birth of a new man, free from all restrictions. Another collision develops in the context of adapting Berhson’s ideas and futuristic paintings and sculptures. Bergson was a part of validation of futuristic concept of Dynamics being implemented by artists through various techniques. The problem was that art and sculpture in particular are unchangeably spatial, material forms which were static intellectual concepts for the philosopher. Criticists Gleizé and Mettsenzhe noticed crossing these qualities’ boundaries. They started talking about a new multi-dimensional artistic image space, the existence of which is possible through the synthesis of tactile, motoric sensations, and intuition as well, that would be embodied through allusions, silence, pauses. Thus, Futurism has adopted several forms to uncrown spatial statics: "synesthesia" and "symultanity" in poetry, music, painting; figurative and non-figurative combination of  Malevich, Archypenko). Despite a secondary role played by space, matter, and subject in the concept of Bergson, Futurism continued the ideas of the philosopher in that environment, giving them the opportunities to go beyond its own passivity, statics, finiteness. For Bergson, variability was the key feature of internal consciousness characteristics that does not need external changes, however Futurists tried to make this transgression evident by transforming variability, as an expression of duration, into the category of visible, visual.