In the context of contemporary artistic reappraisals of Futurism, the artist Luca Buvoli represents an interesting case study. In his retrospective journey across Futurism the artist attempts to cast a contemporary view on a past modernist movement. Buvoli's work explores Futurism through the medium of art rather than deploying traditional forms of investigation. Buvoli's preoccupation with time and slowness also pervades the video Velocity Zero in which the process of 'deceleration' is already perceivable in the oxymoron that constitutes the title. In Meta-Futurism the reskilling process that the artist claimed to have undertaken also coincided with the extensive use of digital animation although always mixed and superimposed by Buvoli's own drawings and hand-sketched material. Meta-Futurism proposes a comprehensive investigation of Futurist aesthetics, succeeding where reception and traditional forms of analysis have often proved insufficient.
In 1931, Filippo Tommaso Marinetti published a Manifesto of Futurist Aeropoetry, in which he encouraged the Futurist poets to emulate the aeropainters. Curiously, despite the Futurist poets' longstanding commitment to visual effects, Marinetti insisted that radio was the best vehicle for aeropoetry. This undoubtedly explains why there are relatively few aeropoems that also function as visual poems. Since visual poetry played a prominent role in Italian Futurism, beginning with Francesco Cangiuillo in 1914, it is gratifying to note that some of the aeropoets insisted on continuing this tradition. Recognising the limitations of radio-aeropoetry, Ignazio Scurto, Pino Masnata and Tullio Crali felt compelled to try their hand at visual compositions. Evoking both the Dalmatian islands and the Cyclades viewed in this chapter, Crali introduced a visual analogy into two different poems. Each poet created a work that was simultaneously a poem and a picture.