Author Filippo Tommaso Marinetti, El Lissitzky, Aleksandr Rodchenko, and colleagues envision their immediate futures as a hypothesis. Each gathering much observation with imagination in theory to their present-day failures and successes. Marinetti’s Idea of the future should be one filled with rebellion against everything that seemed to be vintage or outdated. He idealized a futuristic way of living with commandments that would be in favor of poetic justice and laws that have a deep disdain for feminism. Lissitzky idealizes a future connected through international technology based on photographs, designs, language, and symbolic meanings. Rodchenko, Varvara Stepanova, and Aleksei Gan wanted a future that wasn’t primarily technology-based. They wanted art to be creative with fewer limitations and more emphasis on the process and steps of creating constructively.

They believed technology is the cause of the lack of inventiveness concepts yet seemingly organizes and makes design/art functional for technical constructions. How technology is used for mass production and how something as simple designed as a book has stagnated in terms of today’s world. I believe that these artists and writers would have anticipated that design and art could take a preliminary approach in modernistic ways. That the future is what is happening now in the present time that would eventually influence modern artists and designers to invent new concepts to deal with outdated art and design.

Some common views these artists may share is the outlook on the future and how many forms of art can transcend into something much greater than we imagine it to be today and in past terms outlining the change. On the contrary, these authors did have ideas that were uniquely different from each other. Lissitzky, propositioned “Every invention in art is a single event in time, has no evolution.”  Marinetti made the notion that his Manifesto Of Futurism is an artistic war, with futuristic cars driven by aggression and words of devotion as weapons against the old. Rodchenko and his colleagues viewed artists as modern-day constructors whose roles are to process, organize, discover, propagate. clean out and merge.