5) The Futurists looked to reality and its truth; and they tried to project its forces - as well as the forms (which characterize a necessarily phenomenal existence) - onto the screen made up of the infinite unfolding of life. A life understood as an eternal and inconsumable "promise"; the same one that is actually pronounced from every 'hour' - because in every 'hour', what-is is already other than itself .... that is, it is no longer what of it, however, from time to time it shows itself, and which is, moreover, made to be (i.e., produced) by that same poietic act which only in this development could have unfolded and wrecked, in -one (given that no end can be made, for the time from time to time in question, and therefore for its very determination, completely decisive).In short, the futurist dynamism wanted to lead to the recognition of the noise of an inconsumable 'then'; the same one that should have dissuaded us from becoming victims of the idolatry of limits, of balance, of dead composure - and therefore of all that was already given, for the very way it was given.
It is therefore in the name of that semper adveniens (the "then") that the futurist artist would have fought furiously against "the concept of a closed, finite and measurable object, the result of the traditional concern of putting the object in front of it, of fixing it optically and then detaching it from life to carry it into art "21. By committing to achieve that interpenetration of the planes, that intersection of linCopy and volumes of infinite variety and thickness, heaviness, transparency “which in turn vary the chromatic tone…. resulting in a very varied projection of influences and plastic reactions that give the painting a simultaneity of aspects, a wealth of movements never before achieved "22. A projection on the screen of the present, therefore, capable of making itself the announcement of an inconsumable and therefore always alive eschaton - a thunderous and resonant 'future' in a plastic and pure rhythm that eschews any formula and any abstract definition; “Because it is only in us and with us, through sensation” 23.The future therefore had to be 'felt'; because the impotence of the concept and of the defining intellect by now appeared to be established, in the eyes of the futurist Boccioni. Only art could reveal the fact that it is no longer what it is, on the part of what is. That is, it could reveal that, if there was, there would always and only be the 'future'; that is, what we are unable to define, to understand ... but which we feel every time we make ourselves capable of breaking the veil of abstractions - the same on which the creativity of the artists of the past had always relentlessly rested, but on which they still continued to settle down, according to Boccioni, the French friends, standard bearers of Cubism and its derivations. Picasso too, therefore; whose revolution had not in fact questioned the essential - of the great art of the past.