This week I found myself thinking back on Giacommo Balla’s Dynamism of a Dog on a Leash and Umberto Boccioni’s Unique Forms of Continuity in Space. Through the onslaught of art thrown at me 15-or-so-years ago in Art History 102 these Futurists stuck with me.
At Curio’s Cobra Lounge show in January, my bass didn’t work. This has proven to be a singular anomaly—working the next morning onward—planting a seed of doubt in that there was nothing to fix (but a problem occured).
Futurism is often treated like a footnote to Cubism—a transitional art movement towards Dada, Constructivism, eventually Pop Art, etc. Perhaps their maniacal desire for war leading into World War 1, resolving in a fascist Italy sullied the movement. Or maybe it was their misogyny, or just their emphatic contradictions. Young men and their manifestos—absurdities and ultimatums to be reconciled later.
Next to the seed of doubt, a seed of inspiration was planted: build a backup bass. Of course, I had no interest in building the same bass. Fretless, electro-acoustic—definitely, but how could I do something new? For one I wanted a magneto pickup option (my main bass is piezo) and after some research (on double basses and listening to the tangential Carl Thompson on YouTube) I decided to go into extra-long-scale territory.
I had an immediate gut reaction (of appreciation) to Boccioni’s Unique Forms of Continuity in Space, but didn’t dig deeper until last week. I found I share a lot of similar interests with the Futurists, although obsessively writing manifestos is not one of them. However the Futurist’s manifestos and specifically Boccioni’s manifestos were more or less rules and guidelines—problems to solve through art. Boccioni wrote a manifesto, created a work of art and then moved on. This is something I identify with and wrestle with: given these parameters are you in perpetual forward motion, intent on breaking new ground, or elaborately fickle?
As I think of the future I end up studying the past. Norse mythology… David Bowie… somehow feel connected. As I hurl down 94, Diamond Dogs cacophonizing, like a futuristic Berserker I have to think “There’s nothing to match the splendor of the sun’s red sword, slashing for the first time through our millennial gloom!”
I’ve pondered on the bass for some time now—coincidentally, also about 15 years. And in that time I’ve tried a whole bunch of strings. The only strings that felt like yea this is what I want to sound like are La Bella tapewounds. Not wanting to reopen that problem, I decided to base the scale length of this bass on the length of La Bella extra long strings. I had hoped to get up to 38”, but the strings will only allow for 36”, which should be just fine.
The present is in constant transition to the past. The beginning of this century much like the last is advancing (technologically) rapidly and the Futurists sought to describe this with dynamism, simultaneity and speed through paint, sculpture, sound and word. Many of them working in all these mediums—not in a jack of all trades sense, but in not distinguishing between them—opera d’arte totale.
Most importantly with this bass I want to sculpt a piece of art that will make art. This feels like the year of synthesis: design, illustration, fine art, music, building, performing. …now I’ve gone and done it, I’ve written a manifesto. Down with the Futurists! Long live the future! —spruce moose, space bastard.
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