Overdosed on retro-futurism? Pep Squad is not for you. But thats what makes this debut so interesting. Theres no shortage of local dance rock groups (ugh) incorporating emotive synths and super syncopated rhythms, but no Saytown resident achieves the seamless pastiche Carlos Herrera does. Get Outrageousis radio-ready, yet maintains just enough self-awareness to lure in mainstream-panning snobs. Opener F.U.L.A. charts Herreras acute emotional ambivalence towards the state of pop. The coked-out chorus condemns Los Angeles culture of excess while an army of synths run a train on the breaks. Appropriately, Herrera later sneers, I send you mixed signals because it gives me the giggles on What Are Friends For? His commentary ends with those songs and its not clear whether its for better or worse. Whats crystal is Herreras ability to doppelgang. Strung Out could be an A-side on Twin Shadows recent masterwork Forget. On Boom Boom Boom, Herrera channels 3OH!3 sonically as much as James Murphy lyrically (If you snort that Lindsey Lohan just to dance Diana Ross). Ultimately, Get Outrageous is equally exciting for what it is (stellar party pop) and what it promises to incorporate (a conscience).

(out of 5 stars)

More:

Pep Squad: 'Get Outrageous'

HuffPost’s QuickRead…

Loading…

HuffPost’s QuickRead…

Edition: U.S.

Original post:

Italian Futurists Exhibition Debuts At NYU's Casa Italiana Zerilli-Marimo (PHOTOS)

An electronic insitution Rotterdams Clone Records have been releasing, selling and distributing great electronic music for the last 20 years.

Many were aghast when the label announced its closure in 2009 so central was their position in dance music circles. But they shouldnt have worried. Just a few months later,Army of Darknessstyle the label was resurrectedand remade (nay,Cloned)in a number of sub labels eight and counting, each focusing on a different area of dancefloor futurism. Two of its finest imprints will showcase the hottest names on their books tonight youd be best to take notes.

Room One tonight is host to Royal Oak if anything Clones most straightforward House wing offering some of the finest sounds from the labels Dutch base and beyond. Swedish duo Genius of Time made waves in 2011 with their ace Houston we have a problem, a Whitney-referencing earworm of a track. The sampling of the late diva was a move as prescient as their music an astral-gazing, laid-back take on classic house. Dutch resident Gerd looks to bring things up even higher with his breezy takes on the timeless sounds of Chicago.Finally, the King of the Clones label boss Serge himself will see things out with the latest tracks to catch his ear.

If that all sounds a bit easygoing, things are racheted up a notch in Room Two with the sounds from Clones Basement. The label has taken the role of an audio sandbox, a place for forward thinking producers to share their visions of underground techno.UK Bass artist and Hemlock-label boss Untolds release last year streamlined his usually frantic percussion for a sound designed for main-room destruction, see him in full effect tonight. A stalwart of the Dutch scene,Conforcessound isunmistakablytechno-centered, but expect plenty of left-of centre detours to keep things fresh.Things are rounded off by Dexter, on inspired form recently, guesting on Rush Hours Amsterdam All Stars compilation and restlessly experimenting with his sound. Afterworking in a number of styles over the years electro, house, techno no doubt hell work some of these in tonight.

Clone Records: Basement Series vs Royal Oak at Hidden, Vauxhall SE11 5EQ, Friday 11th May. Tickets are available here.

Image used with permission from Clone Records.

Original post:

Club Watch: Clone Records Night @ Hidden

You don’t have to wear brass goggles or leather corsets to fit in with the dapper anachronistic crowds at therFest. But why cheat yourself of such fashionable fun at the steampunk convention? Especially when you can strut your stuff with some serious A&A.

And A&A would be …

Aesthetics and attitude, says Pablo Mr. Saturday Vazquez III of the San Antonio Neo-Victorian Association, which hosts the event Friday through Sunday at the St. Anthony Hotel.

Steampunk is a subgenre of science fiction that marries modern gadgetry and general futurism with the steam-powered past of the Victorian era. It’s as much a fashion statement as a literary one, with fans who craft giant ray guns, mechanical arms and other bizarre brass and clockwork accessories to wear with old-timey petticoats, top hats and coattails.

In its second year, therFest showcases live music and fan clubs with groups such as Marquis de Vaudeville and Airship Isabella, plus steampunk authors O.M. Grey and Lia Habel, panels for steampunk novices and experts and tabletop gaming in the Cracked Monocle gaming room. There are also dances, dinners and tea times that keep with the con’s historic hotel setting.

And while therFest isn’t all about playing dress-up, rest assured on-hand vendors will gladly outfit you with the latest retro-futuristic outfits and accessories.

Vazquez stresses you don’t need such gear to get in the door. But once inside, such paraphernalia can only enhance what’s meant to be an immersive experience: And hopefully (you) come out with a top hat, too, afterward.

rguzman@express-news.net. Twitter: @reneguz

Read more from the original source:

Get retro with ÆtherFest

We’ve all been there. Tired. Hungry. Staring into the cold, dark eyes of a Panda Express.

The dearth of decent airport dining can make even the savviest world traveler feel stranded in a culinary heart of darkness. With nothing but a mediocre Hudson News paperback to pass the interminable hours before boarding, what is the hungry traveler to do but submit to Sbarro?

Before you dive headlong into the abyss, consider your coordinates. The world’s leading international airports are seriously upping their gourmet game, offering everything from menus by Michelin-starred chefs to food stalls stocked with local delicacies. At these six spots, you’ll eat surprisingly well before boarding.

1. Hong Kong International (HKG)

Tian Xia Dumplings will not win you over with its looks. Located within the elevated Dave & Busters that is HKG’s dining and entertainment concourse Terminal 2, this unassuming kiosk sells an array of hearty Hong Kong street-food classics, like big bowls of fish noodles as well as the namesake dumplings, which are made to order and served alongside a fiery red chili oil sauce.

2. Los Angeles International (LAX)

Built in 1961, the modernist Theme Building at LAX looks a bit more Star Trek than Saarinen. But channel your inner Shatner at the spider-legged Encounter restaurant, an emblem of mid-century futurism that serves a surprisingly tasty menu of local California produce, fresh seafood and steamed edamame topped with fleur de sel, sesame pepper and zesty ponzu sauce.

John Bartelstone Photography for OTG Management

3. London Heathrow (LHR)

The first airport restaurant from celebrity chef and Zen master Gordon Ramsay is in Terminal 5, Heathrow’s sweeping metropolis of luxury shopping and poorly placed escalators. The varied Plane Food menu includes crispy duck salad, risotto with English peas and seared cuts of dry-aged British beef. If your time in T5 is limited, order from the two-course Plane Fast list, where a mere ?16.95 gets you pumpkin soup and Suffolk pork belly in under 25 minutes.

Read the original here:

Amazing Airport Restaurants

Visit link:

Et cetera: non-fiction roundup – reviews

More:

Review: Fourth-Generation Honda CR-V

Science fiction serves as a inspiration for the man whose job it is envisage Intel’s future and, to a large degree, the future of computing itself.

In 2010 Brian David Johnson became Intel Corp.’s first futurist, a time-honored title bestowed on prognosticating technology mavens dating back to the likes of Jules Verne and H. G. Wells. Equal parts seer and evangelist, Johnson helps map out the future of technology and then guides his company toward that destination, whether it is five years or even a decade away.

Johnson draws inspiration from science fiction but tries to ground his vision of the future in reality through speaking engagements in front of audiences most likely to be affected by Intel’s technology, such as attendees of the pop culture convention Comic-Con. For an in-depth Q&A with Johnson about the future of computing and his role at Intel, read “Professional Seer” in the May issue of Scientific American. Below is a collection of questions and answers from our conversation with Johnson not included in that article.

Q: Which science fiction authors have inspired you the most? Johnson: So there’s what inspired me as a kid — the Asimov, the Bradbury, the Heinlein — that forms the core of science fiction. As I got a little older and a little more sophisticated, it was people like Philip K. Dick, J. G. Ballard, and even more recently people like Vernor Vinge and Cory Doctorow and Charlie Stross, those types of guys. Now most of the stuff I’m inspired by is the near future that is very much based on science fact.

How does a future futurist spend his time as a kid? Johnson: Growing up, my dad was a radar-tracking engineer and my mom was a specialist [in information technology]. My pop used to come home with electrical schematics of the radar and tell me the story of how it worked. A few weeks later he would come home with an actual piece of the radar and say, “Take it apart.” And then he would actually show me how to take it apart. I think about when this happened and I realize that it was around the time I was learning to read. I was learning to read schematics the same time I was learning to read, so I grew up immersed in technology.

How does one become a futurist? Can you go to school and get a degree in futurism? Johnson: No, but you can go to the college where they first taught futurism, which Alvin Toffler does at the New School [for Social Research] in New York City.

The New School is known for social research. What does a future futurist study there? Johnson: That’s the lovely thing about the New School when I went, which was the late ’80s, early ’90s. You could take whatever you wanted. I studied a lot of computer science, but when I went to the New School it was this great mix where I could study sociology, I could study economics, I could study film, and I could go down to [New York University] and take classes. As a futurist I need the technical chops to understand what we’re talking about. But I also need the research chops to be able to go out and pull this all together and then have the ability to express it.

What are some of the most important issues that you’re talking to people about now when you’re out on the road for Intel? Johnson: There are three main themes — one is called the secret life of data, the second is the ghost of computing, and the third is the future of fear.

Those sound like book titles. How can data have a secret life? Johnson: The secret life of data is thinking about what it will be like to live in a world of big data. What will that feel like when we’re creating so much data about ourselves through sensors and other technology that data begins to take on a life of its own? It’s already starting to happen, and it’s only going to get bigger. You have algorithms talking to algorithms, machines talking to machines. What does it feel like to be in that world — No. 1? And No. 2, how do we make sure that when that data comes back to us that it’s meaningful? It’s not just synthesizing massive amounts of financial data and spitting me out some credit ratings. We’ve moved beyond that.

What do you mean when you talk about the “ghost of computing”? Johnson: Look at the microprocessor, it keeps getting smaller and smaller and smaller — it’s crazy how small it gets. If it keeps getting smaller what happens when that unit of compute gets so small that it disappears? We’ve been talking about that world for a while but as you get out 10 or 15 years we’re getting closer and closer to it. What happens when computing is in the walls or in a table? So that’s one side of it. What does the world look like when we’re surrounded by intelligence?

Link:

Intel futurist discusses data's secret life, 'ghost of computing'

See the article here:

Discover urban Italy at Toi Poneke Gallery

Destabilizing futurism set to a pulse-pounding score isnt just for sci-fi and fantasy thrillers. It works just as well to sell documentaries like Last Call at the Oasis, which thirstily peers into our present and future water wars, as can be seen in the films trailer above.

Unlike the comic-book vision of global annihilation in The Avengers, the blockbuster whose record-setting opening drowned news of Last Call at the Oasis limited debut last week, director Jessica Yus documentary delivers a truer story of civilization on the verge of collapse.

Also unlike The Avengers: Were screwed, as hydrologist Jay Famiglietti explains in the PG-13 movie, which opens in more markets Friday.

Produced by Participant Media (Food Inc., An Inconvenient Truth, The Cove), Last Call at the Oasis joins Famiglietti with fellow science geeks like Peter Gleick and Berkeleys Einstein-quoting biologist Tyrone Hayes, as well as activists like Erin Brockovich. All drive home Last Call at the Oasis central thesis, as explained in the trailer: Its not a question of if, its a question of when.

Of when disaster strikes, to be specific. Last Call at the Oasis warns in impressive visual fashion that, as increasing water consumption continues to exceed the planets capacity to renew itself, were inevitably headed for the kind of heated dystopia we regularly associate with speculative fiction.

We just always think that cant be me, Brockovich says. It already is you.

Scott Thill covers pop, culture, tech, politics, econ, the environment and more for Wired, AlterNet, Filter, Huffington Post and others. You can sample his collected spiels at his site, Morphizm.

Read more by Scott Thill

Follow @morphizm on Twitter.

Here is the original post:

Water Wars Documentary Last Call at the Oasis Keeps Dystopia Real

The SPIN Electronic Dance Music Blog

Raw Detroit unicorn futurism with a ‘Star Trek’ shout-out

Legowelt, a.k.a., Danny Wolfers, is a prolific sort. Slogging away in his studio in the Hague, surrounded by some of the finest (and sometimes buggiest) analog music-making implements known to humankind, he can bang out old-school synth-and-drum jams with the ease of the late Christopher Hitchens reeling off a 1,500-word diatribe about Henry Kissinger, somewhere in between the third and fourth glass of wine. Not that Wolfers necessarily imbibes with the gusto of Hitch, nor ascribes to any of his polemical ideas merely to say that the Dutch producer’s prodigious output means that he can afford to give away some of the goods, every now and then.

He did this a few months back with his album The TEAC Life, a 14-track album of dreamy, dusky, Detroit-inspired techno that he offered as a pay-what-you-wish download from his own website. It’s still available; I donated $10 to his PayPal for it, which seemed more than fair and he’s blessing us again with a new production called “Deep Space Gazing.”

The TEAC Life actually came with a brash sales pitch that Hitchens probably would have appreciated (dodgy punctuation, notwithstanding). “Ok people here it is the new Legowelt album which is free to download for u all,” wrote Wolfers, proceeding to draw a line in the motherfucking sand: “Its got a hella lot deep tape saturated forest-techno tracks on it and when I say Techno i dont mean that boooooooooooring contemporary shit they call techno nowadays with overrated tallentless pretentious douchebag cunt DJs playing a few halfassed dumb mongo beats and being all arty fartsy about it. F*ck that, I am talking about: Raw as fuck autistic Star Trek 1987- Misty Forests- X-FILES,- DETROIT unicorn futurism made on cheap ass digital & analog crap synthesizers recorded in a ragtag bedroom studio on a TEAC VHX cassettedeck in DOLBY C with an unintelligible yet soulfull vivacity.”

(I love that he took the trouble to asterisk out one of his swears, but not the rest.)

“Deep Space Gazing” is a less contentious proposition. Wolfers describes it as “old school U.K rave proto breakbeat techno” sourced from the Commodore Amiga, Roland R-8, and Roland MKS-100, and while I’m in no way capable of verifying his gear list I had to look up the MKS-100 he’s certainly got the description down pat. With a vibe evocative of 808 State, Baby Ford, and early Warp releases, it feels like raving your face off in a remote field deep in the U.K. countryside, complete with an omnipresent layer of tape hiss settling in like frigid dew around your up-all-night feet. It’s lo-fi, hi-concept, and comes with a “mandatory” Star Trek sample.

Get the goods from www.legowelt.com; check out The TEAC Life while you’re at it, and then send him some money. Even unicorn futurists need to eat.

See more here:

Dutch Techno Maverick Legowelt Revisits Rave's Glory Days with Free Track

The art collection assembled by Albert C. Barnes is a many-splendored thing, but also one shaped by paradox.

It’s internationally famous for its exceptional group of impressionist, postimpressionist, and early modern paintings, but they’re only part of what makes a visit to the foundation a memorable adventure.

As a collector, Barnes was something of an omnivore. Besides indulging in his favorite artists, Pierre-August Renoir, Paul Cezanne, and Henri Matisse, whose pictures constitute the core of his European holdings, he assembled an extensive body of pictures by American artists, including some Philadelphians.

Justifiably, these receive far less attention than the Big Three, which are augmented by such European masters as van Gogh, Seurat, Picasso, and Rousseau. The American reputations are smaller, the works themselves less prepossessing.

Like most collectors then and now, Barnes began before World War I with paintings, but after the war he branched out into other media. In 1923, he bought a select group of African sculptures, apparently because he recognized the influence of what was then called tribal art on European modernists.

Perhaps a connection to Pennsylvania German culture through his mother’s family inspired an interest in its furniture and pottery, much of which he installed at his Chester County farm, Ker-Feal.

The foundation’s collections of Southwestern Pueblo pottery and of Navajo silver and turquoise jewelry, which Barnes acquired in the 1930s, both include masterpieces of their kind. One consultant has called the jewelry collection world-class.

Finally, there’s the celebrated ironwork – decorative hinges, door-pulls, and such. You can’t miss them, because to illustrate his aesthetic philosophy Barnes distributed the hardware on the gallery walls among the paintings.

So the “collection” isn’t unitary and focused but more like an amalgam of constituent parts, which Barnes related to one another.

The installation of the 23 galleries, which are today as Barnes left them at his death in 1951 (though in a different zip code), reflects this. European and American paintings are mixed together, accented by Pennsylvania German decorated chests and the aforementioned iron hardware. The African art is kept together, not distributed among the ensembles.

Continued here:

The Barnes collection mirrors the collector

www.youtube.com/watch?v=aWBcOckW7Wg

See original here:

dreDDup – Futurism – - – Serbian industrial rock – Video

www.youtube.com/watch?v=PUCgAJ528hA

See the original post:

1950s view of the future, retro futurism part 2 – Video

The schedule called for this to appear last Friday, but as I was just back from a funeral, yeah, not so much. I had already gone through and bookmarked a whole slew of old posts, though, so here’s a recap of the 2003-2004 blogademic year (starting and ending in late June).

This year saw a few milestones, though not quite as many as the previous year. I got a grant, passed my third-year reappointment review (the first big hurdle on the way to tenure), and we had a visiting speaker from Yale one week who mentioned in passing an idea that became central to my research program.

Probably the most significant milestone, though it didn’t necessarily seem that way at the time, was when we adopted Emmy. If you’ve read How to Teach Physics to Your Dog, the Introduction includes a dog dialogue sitting on a bench at the Mohawk-Hudson Humane Society, which is, in fact, where I made the decision to take her home. Which has paid off far more literally than I ever would’ve guessed. As a bonus, this year also includes the very first conversation with Emmy on the blog, though it took a different form than the conversations that would eventually become (nerd) famous.

Other notable posts from the year include:

PHYSICS:

It’s interesting to me that already, only a year into the blog’s existence, there’s a dramatic drop-off in the number of meaty physics posts, particularly during the academic year. I had thought that I was a little more consistent back in the day, and only started to feel a major crunch more recently. That’s not the case, though– I was posting apologetic notes about not having time to do physics posts all the way back in 2003.

There were a couple of notable spurts of physics activity, the first surrounding a now discredited claim to have detected a “pentaquark” particle at Jefferson Lab. Our newly hired department chair was part of one of the JLab collaborations, so we talked about it a bit, and I wrote up the experiment over a series of posts spanning a month. The specific result is no longer valid, but I think the description of how things work in particle physics experiments is still pretty decent.

The other protracted series of posts was a long discussion of space flight issues, which shades toward politics in a bunch of places. Again, while some of the details are no longer relevant, I still broadly agree with the general ideas.

The other particularly notable physics item that I had nearly forgotten about was the Afshar experiment, which claimed to be able to detect both which slit a photon went through and the double-slit interference pattern produced in the process. This generated a good deal of discussion at the time, but has since sunk with little trace. It did eventually lead to a research article, but its bolder claims haven’t really held up.

Other odds and ends about physics: some thoughts about inertial frames, some stuff about quantum interpretations, some quantum misconceptions, and some thoughts about narrative. It’s interesting to see that these contain bits and pieces that I would end up using in my two books, without consciously remembering that I had written about this stuff before. It’s a little easier to understand some of the high-profile academics caught self-plagiarizing their own books, now…

The rest is here:

Ten Years Before the Blog: 2003-2004 [Uncertain Principles]

Here’s a lede I don’t get to write every day: President Obama and Mitt Romney actually agree on something. Something fairly big. And yet, it still may not happen.

In file picture, students attend graduation ceremonies at the University of Alabama in Tuscaloosa, Ala. (Butch Dill – AP) In 2007, Congress passed the College Cost Reduction and Access Act, which lowered the interest rate on federal student loans from 6.8 percent to 3.4 percent. But the law was temporary: It expires this July. Obama wants to extend it. The difference for a student using the loans is about $1,000. On Monday, Romney said he would like to extend it, too. The question is, will Congress cooperate?

I asked Boehner spokesman Michael Steel whether House Republicans thought they could get this done. The rising cost of tuition is a serious problem for students and their families, so its unfortunate that Washington Democrats put in place a law that would double student loan rates,” he e-mailed back. “Thats why Republicans and Democrats on both sides of Capitol Hill will be working on this issue in the coming months.

I’ll take that as a “maybe” on the question I asked, and a “definitely not” on the question I didn’t ask (“Do Republicans think House Democrats did a good job in 2007?”).

The issues, as with most anything in Washington, is offsets. Extending the program for one year would cost $6 billion. Greg Sargent notes that you could cover the whole thing by passing the Buffett Rule, but I think it’s fair to say House Republicans wouldn’t find that a satisfying answer. The question is whether they’ve got any ideas the Democrats can accept. Remember that this is one of those situations in which a simple failure to agree creates a legislative outcome: The law expires and federal student loan rates double overnight.

And this would be a very strange time to cut back on efforts to make college affordable. Over the ;ast few years, states have jacked up tuition in order to make it through the recession. That’s made it tougher for students to afford college even as it’s becoming more important for them to go there. “In the last 30 years, the typical college tuition has tripled,” writes Derek Thompson. “But over the exact same period, the earnings gap between college-educated adults and high school graduates has also tripled. In 1979, the wage difference was 75%. In 2003, it was 230%.”

We’ve got a lot of questionable priorities in this country. But helping kids afford higher education really isn’t one of them. That’s why this is, as far as I can tell, the first legislative issue of the campaign in which Obama and Romney have actually agreed. The question is whether that’ll be enough.

Want Wonkbook delivered to your inbox or mobile device?Subscribe!

Top stories

1) Romney and Obama actually agree on something. “Obama is making a full-court press this week to extend low rates on government-subsidized student loans through next year, with stops at universities in North Carolina, Colorado and Iowa over the next several days. On Monday, Romney announced that he also supported the measure even though some Republican lawmakers have opposed it — marking one of the first significant policies on which the two can agree…The debate over what to do about the nations $1 trillion in student loan debt speaks directly to all of those concerns. Many graduates have struggled to find jobs in the tight labor market — and have fallen behind on their college loans in the process. Another study by Pew found that those debts have made it harder for many young people to buy a home and have affected their career choices. That has prompted rallies at college campuses across the country calling for an extension of low interest rates on federally subsidized Stafford loans.” Ylan Mui and Felicia Sonmez in The Washington Post.

View post:

Wonkbook: Obama and Romney agree on student loans. But where's Congress?

The United States, like almost every other rich country in the world, is getting older and slower. But we have a natural advantage over the rest of the world, if only we’re wise enough to use it

Reuters

When countries get rich, they can get predictable. They live longer. They get older. They use their wealth to pay for the insurance and security of the elderly. As the workforce moves away from farms into factories and cubicles, working parents tend to have fewer kids. Fewer children grow up to become fewer workers. And fewer workers paying into expensive programs ironically puts strains on the very wealth that made this all possible, in the first place.

An aging country faces three deficits. First it faces this entitlement deficit. Second, it creates an creativity deficit, as a declining share of working-age people are finding and tweaking smart ideas. Third, it creates a savings deficit. Broadly, young people save for retirement and retired people spend down those savings.

We see this hydra of deficits inflicting pain in Japan, whose the working-age population has already peaked and debt-to-GDP is the highest in the advanced world. We see it in Europe, where the ratio of working-age adults to seniors is poised to fall by 38 percent in the next two decades. We see it in Taiwan, and South Korea, and Hong Kong, where birth rates are below 2.1, which is commonly considered replacement level. We see it in China, where rapid aging and a bizarre one-child policy has created a “4-2-1 phenomenon,” where one child’s income supports two parents and four grandparents. We see it across the developed world, where the 60+ population will be growing more than three times as fast as the general population by 2030.

We also see it in the United States, which is also facing the strains of an older population demanding expensive medical services from a slower-growing workforce. But the U.S. has a trump card that makes us different from Europe. Fareed Zakaria calls it our “secret weapon” in his book The Post-America World. It’s immigration.

People want to move here, and we can take them. That’s why, if you’ll permit a bit of futurism, we’re projected to have a lower share of seniors than most of the developed world by 2050.

Immigration is a big part of what distinguishes the U.S. from, say, the EU. Immigration makes us younger. That’s what you see from the graph above. Immigration makes us smarter. Half of all Silicon Valley start ups have a co-founder no more than one generation separated from an immigrant. Immigration gives us workers. The U.S. fertility rate is below 2.1, so it’s immigration that pushes us above replacement level.

Continue reading here:

America's Secret Growth Weapon: Why Immigration Really, Really Matters

BOOK PRESENTATION

The 2011 international conference “Our Digital Renaissance – Cultural Development, Artistic Creation & Economic Growth” will open with a book launch of the 2009 conference proceedings

Futurismo – Impact and Legacy

Thursday, November 10, 2011
Sala Rosa, Florence University of the Arts

As our historical knowledge of Futurism, its texts and personalities increases, we are now able to examine the original documents of the time in perspective. We then realize that we cannot speak of one futurism anymore, but that we must speak of many futurisms: any simplification of the
movement would not do justice to the cultural complexity of those years.

The eclectic essays collected in this volume represent a testament to how far Futurism has arrived in time, space and in the imagination. In the diversity of their arguments, the works here included exemplify the different perspectives that can be taken towards the subject, well aware that, far from essentializing Futurism, we need to move towards complicating our understanding of the movement.

Please RSVP if you are interested to participate in the events as per the program and invitation hereby attached.

Please answer by Wednesday, 9 November calling 055-0332424 or sending an email to info@squolafirenze.it

INVITO DR e Futurismo

PROGRAMMA Digital Renaissance

TULLIO CRALI (1910-2000)

OIL PAINTING ON BOARD

Squadron of aircraft caught in searchlight over a city
signed and dated (19) 33 lower left
21″ x 25 1/2″ (52.5cm x 64cm)
EST 10,000-15,000
Estimate: 10000-15000

Capes Dunn and Co of Manchester
Northern Artists 25th October 2011
Tullio Crali (1910 – 2000)

After the success of offering a painting by the famous Italian Futurist artist Gerardo Dottori that sold for £22,000 in August, Capes Dunn is offering another Futurist painting in its forthcoming Northern Artists sale on the 25th October, this time by Tullio Crali. Although a late comer to the movement, not joining until 1929 he was an important figure associated with Marinetti with whom he co-authored two manifestos and at his request exhibited in the Venice Biennale, the Rome Quadrennial and several other international exhibitions. In the 1930s Crali played a significant part in the Aeropitture of which this painting is seemingly affiliated. The oil on board of a squadron of aircraft caught in a searchlight over a city is signed and dated 1933. The vivid blue hues contrast with the bright yellow flashes of the searchlight and the disjoined and dizzying perspective of the piece in rambling curves and beams reflect an excellent example of his work.

It is offered in the Northern Artists Auction commencing at 7pm on Tuesday 25th October, for further information: Tel. 0161 273 1911 Email. capesdunn@gmail.com

Saturday, November 5, 2011
9:00 am – 6:00 pm
John D. Calandra Italian-American Institute
25 West 43rd Street 17th Floor, New York City (212) 642-2094

Keynote

Emilio Gentile, University of Rome, La Sapienza

“Fabbrica del consenso o fabbrica del potere? Redefining Fascism and Totalitarianism”

New Directions in Italian-American History

Chair: Gerald Meyer, Hostos Community College, CUNY

Charles Killinger, University of Central Florida, “Italian Antifascist Exiles and the Italian-American Community: Renato Poggioli and Gaetano Salvemini as Case Studies”

Marcella Bencivenni, Hostos Community College, CUNY, “Re-examining Italian-American Radical History Through the Lens of Culture”

Peter Vellon, Queens College, CUNY, “‘The humiliation of being treated like Negroes’: The Italian-American Education in Matters of Race”

New Directions in Italian History, I

Chair: Emily Braun, Hunter College & The Graduate Center, CUNY

Paul Corner, University of Siena, “Factories and their Products: A Comment on Phil Cannistraro’s La fabbrica del consenso”

Ernest Ialongo, Hostos Community College, CUNY, “The Calculated Compromise: F.T. Marinetti and Fascism in the Twenties”

William Adams, Hunter College, CUNY, “The politica dei ponti in the Republic of Salò”

New Directions in Italian History, II

Chair: John Davis, University of Connecticut

Marta Petrusewicz, University of Calabria, “Fin-de-siècle Rome: A Republic of Collectors”

Stanislao Pugliese, Hofstra University, “Dancing on a Volcano: Attempting a Popular History of Naples”

David Aliano, College of Mount Saint Vincent, “Re-imagining the Nation: Italian National Narratives Abroad (1922-1945)”

Please RSVP at calandra@qc.edu

Facebook