THE TWO DECADES BEGINNING IN ¹⁸7⁶ saw the appearance of the incandescent lamp, the telephone, hydraulic generators, skyscrapers, electric trolleys, subways, and elevators, as well as cinema, X-rays, and the first automobiles. By ¹9⁰3 the spectacle of the first mechanically powered airships and then airplanes had shattered the still inviolate(bozulmamıs) horizontally (yatay)of the phenomenological and geopo­litical space of the pre-World War I era. The life-world in Europe and America was being transformed in depth—the unparalleled technical saturation of the hu­man perceptual apparatus through innovations in transport and communications was redefining the body and its relations to the world beyond it. A new order was
whose configuration could be expressed either in terms of a dynamics of force and a relativism or in the privative terms of nihilism and dissolution.(çözünme) Whatever their ultimate (nihai) convictions(kanaat), the philosophies of Henri Bergson and Ed­mund Husserl may be seen to form one axis of this configuration:

Bergson's for its insistence on the nondiscrete nature of the contents of consciousness and on the systematic dissolution of spatial form in the fluid multiplicity of durée

Bergsonun bilincin içeriğinin bütünsel dogası ve mekansal formun akışın çokluğu ve süre içindeki sistematik çözünme iddiaları

Husserl for its attempt to work out the dynamic of (ap)perception by extending the intentional horizon (perceptual field) to the vector of internal time con­sciousness so that a perceived object (noema)—already defined as partial and contingent(olası ihtimal) in space—was further relativized(göreceli) in a temporal complex of retained (akılda tutmak)and anticipated (tahmin edilen)images.

Husserl algı ve idrak etmedeki dinamikdurumu açıklıyor, kisisel ufuk bir nevi bakış açısı, içsel zamanın biliçteki yeri. obje ondan bize gelen verilerle zaten bizdeki olanlarla olası halleri yeniden sekilleniyor.

The first systematic attempt to express these new principles, however, arose(meydana cıkmak) in the realm of aesthetics, first and most fully in the theoretical program of Italian futurism, yet realized unequivocally only in the work of one of its members, An­tonio Sant'Elia. The movement's founder, Filippo Tommaso Marinette, pub­lished the "Foundation Manifesto" in the Paris daily Le Figaro in February

yeni algı sistemleri bedenin yeniden farklı bicimde yapılandırdı.