Future-University: How I got futurist and you get future-researcher! - part 2
all about futures-sciences to science-fiction.
By: Roman Retzbach
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Future-University: How I got futurist and you get future-researcher! - part 2 - Video
What next: Inflation or Deflation? Get ready for inflation - Economics Futurist Keynote Speaker
What is the greatest threat to our future: inflation or deflation? What should we expect? Inflationary boom or deflationary bust or more economic cycles of b...
By: Patrick Dixon Futurist Keynote Speaker for Industry Conference
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Futurist Richard Worzel Discusses the Challenges and Opportunities that Lie Ahead for Farmers
Shaun Haney talks to professional Futurist Richard Worzel about what, exactly a futurist is and what the future holds for agriculture.
By: Shaun Haney
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Minneapolis, MN (PRWEB) February 27, 2014
Local best-selling author and futurist Jack Uldrich will be presenting a keynote address to Wells Fargo on Friday, February 28th. Uldrich will present his speech, How to Future-Proof Yourself Against Tomorrows Ten Transformational Trends, Today. As one of the nation's premier financial services firms, Wells Fargo has made a commitment to satisfy their clients' investment needs and help them succeed financially. By understanding the future trends and learning to future-proof from experts like Uldrich, Wells Fargo is striving to ensure both their success and their customers success.
The material presented is based on a combination of Uldrich's best-selling books, "Foresight 2020: A Futurist Explores the Trends Transforming Tomorrow" and Jump the Curve; 50 Essential Strategies to Help Your Company Stay Ahead of Emerging Technologies.
Uldrichs interactive speech, which has been tailored specifically to Wells Fargo and their quest to discover what 2014 holds in store, is designed to provide Wells Fargos leaders and employees with a solid and thought-provoking foundation upon which to continue creating the companys future. An overview of some of Uldrichs ideas can be found in this YouTube clip of his presentation, "Why Future Trends Demand Unlearning", which also aired on WFYI in Indianapolis.
Uldrich will also provide an overview of how technological change is upending long-standing business models and discuss why future trends demand unlearning. Uldrich, who has been hailed as "America's Chief Unlearning Officer" and is author of 2011 best-seller "Higher Unlearning: 39 Post Requisite Lessons for Achieving a Successful Future," will use vivid analogies and memorable stories, drawn from a wide spectrum of industries, to ensure his message of unlearning makes a lasting impression on his audience at Wells Fargo. He will conclude his talk by reviewing the consequences of not embracing the concept of unlearning.
Uldrichs clients include General Electric, IBM, Cisco, United Healthcare, PepsiCo, Verizon Wireless, General Mills, the Young Presidents Organization (YPO), Pfizer, Healthcare Association of New York, Southern Company, St. Jude Medical, Dressbarn, AG Schering, Imation, Lockheed Martin, Fairview Hospitals, Touchstone Energy, The Insurance Service Organization, and hundreds more.
Parties interested in learning about Jack Uldrich, his books, his daily blog or his speaking availability are encouraged to contact Catherine Glynn.
Jack Uldrich is a renowned global futurist, technology forecaster, best-selling author, editor of the quarterly newsletter, The Exponential Executive, and host of the award-winning website, http://www.jumpthecurve.net. He is currently represented by a number of professional speakers' bureaus, including Leading Authorities, Convention Connection, Gold Star Speakers Bureau and Executive Speakers Bureau.
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Trends Expert Jack Uldrich to Address the Topic of Future-Proofing at Wells Fargo
The International Impact of Futurism
THE INTERNATIONAL IMPACT OF FUTURISM Absorptions, Assimilations, Adaptations A Panel Discussion with: Gnter Berghaus, Senior Research Fellow, University of ...
By: CasaItalianaNYU
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Amplifying the utopian zeal of the 20th-century avant-garde, Italian futurism marched its way into modern art with a revolutionary project and the brazen machismo to back it. The launch of this incendiary crusade against the bourgeois past and the flight toward the technological future led to a radical and chaotic period of production, presented for the first time in full force at the Guggenheim Museums monumental exhibition, Italian Futurism, 1909-1944: Reconstructing the Universe.
Organized by Vivien Greene, the museums senior curator of 19th- and early 20th-century art, this landmark show takes an unprecedented sweep of the history of futurism. It brings together, for the first time, a comprehensive assemblage of almost 400 pieces, including paintings, films, furniture, and architectural sketches by nearly 80 artists. Almost half of these objects have left Italy for the first time for this exhibit.
The show breaks new ground with its exploration of the relatively overlooked post-World War I phase of futurism and its proliferation into further media and subject matter. Frank Lloyd Wrights curved ramp and rotunda are powerfully enlisted, glorifying the futurist motif of the spiral and situating the viewer at the nucleus of the work in futurist fashion. This is one example of the exhibits sensitive and comprehensive reading of such a difficult movement, which is fraught with internal paradoxes and uncomfortably bears the cross of its highly fascist and misogynistic beginning.
Framing the exhibition is an audio display of The Founding and Manifesto of Futurism, penned by the movements founder and chief firebrand, Filippo Tommaso Marinetti. The booming notes of the manifesto, recited with gusto, are an effective usher into the future conceived by Marinetti. With his combative, crowd-rallying register, we are effectively confronted with futurisms ideological thrusts: the exaltation of speed, machines, and warfare, contempt for women, and an unmitigated scorn towards the cultural institutions that would frame the works in years to come.
Early manifestations of this ideological project show the futurists attempts to inscribe speed, simultaneity, and temporality upon a static art object. Anton Giulio Bragaglias photographs with blurred movement are shown alongside the cubist and pointilist paintings of Giacomo Balla, Umberto Boccioni, and Carlo Carr. The predominance of paintings in the show embodies the paradox of this movement that sought to annihilate the past but failed to challenge the medium of painting. In Ballas The Hand of the Violinist, the serial repetition of the violin is both a pastiche of cubism and a highly literal depiction of movement through chronophotography. The vast, divisionist whirlwind of Boccionis The City Rises and its evocation of the mythical grandeur of factories and workers is particularly gripping. Carrs The Funeral of the Anarchist Galli is another highlight, amplifying chaos in movement with a throng of fighting bodies under a red mist that rivals the light of the sun.
The early heroic phase of futurism also drew its strength from Marinettis pioneering of parole in libert (words in freedom), a brand of visual poetry culminating in the typographically eccentric collection Zang Tumb Tumb. Documentary filmmaker Jen Sachs animation of the printed poems, coupled to a new recording, uses animation to convey the spontaneous energy of the poems.
While most narratives end in this phase, the breadth of the show importantly affords us a view of the subsequent mellowing of Italian futurism in the next decade. Fortunato Depero and Balla coined the futurist opera darte totale (total work of art), and the futurist aesthetic proliferated past painting into new forms of theater, film, art-deco style furniture, and even toys. The refreshing playfulness of works in this phase is striking, departing from the severity of the opening notes of the manifesto. In particular, a collection of visual sketches for Deporos Balli Plastici, a futurist ballet of machine-like puppets, stood out to me for its distinct combination of vorticist angularity and uncharacteristic fairy tale whimsy.
The later phases of futurism in the 1920s and 1930s, however, saw a return to its direct glorification of the machine with the themes of locomotion and flight, which the exhibition formidably displays. Ivo Pannaggis Speeding Train at once captures the monolithic mass of the locomotive and its dynamic lightness as it tears through space. More impressive are Benedetta Cappa Marinettis and Tullio Cralis works of aeropittura (aeropainting), restless with the movement of flight and appropriately exhibited on the highest ramp. The final paradox of futurismits apparent misogynyis brought to the fore by emphasizing Benedettas distinct presence in this phase, a clear crowning achievement of the show. A room is devoted to her dynamic canvases of rippling waves and warped space, echoing the velocity of Cralis piece and vigorously destabilizing the manifesto.
Italian Futurism is certainly an uneven ride, but one that truly captures the contradictions and complexities of futurism.
Italian Futurism, 19091944: Reconstructing the Universe is on view at the Guggenheim from Feb. 21 to Sept. 1. Entry to the Guggenheim costs $18 for students.
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20th-century utopian visions on display at Guggenheim exhibit
Assassins Creed Freedom Cry PC Gameplay Maxed Settings
Assassins Creed Freedom Cry Gameplay Maxed Settings Born a slave, Adewale found freedom as a pirate aboard Edward Kenway #39;s ship, the Jackdaw. 15 years later,...
By: Triple6Games
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Assassins Creed Freedom Cry PC Gameplay Maxed Settings - Video
Freedom Jazz Dance jazz backing track with Chuck D #39;Aloia and Rocco Guitars
http://www.bobbysbackingtracks.com http://chuckdaloiamusic.com/ http://www.kitwalker.com/ http://roccoguitars.com/ Chuck D #39;Aloia blowing over a Freedom Jazz ...
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Freedom Jazz Dance jazz backing track with Chuck D'Aloia and Rocco Guitars - Video
Crossfire: Does Arizona #39;s religious freedom bill discriminate? (3/3)
2/26/14 - Crossfire: Van Jones and S.E. Cupp host Neera Tanden and Peter Sprigg to debate Arizona #39;s religious freedom bill. Part 1: http://www.youtube.com/wa...
By: rebuildthedream
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Crossfire: Does Arizona's religious freedom bill discriminate? (3/3) - Video
Earl H. - AA Speaker - "The Path to Freedom"
LOVE this tape by one of the all-time best AA speakers, Earl H. His talks are always so inspiring and he relates the message in such a creative and captivati...
By: Odomtology 12-Step Recovery Media
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Mobydick Mc Moutcho ft Rabah Donquishoot mbs Sing Freedom Exclusive
By: adem m
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Mobydick Mc Moutcho ft Rabah Donquishoot mbs Sing Freedom Exclusive - Video
Fab, Fierce, Freedom LIVE Hangout
For the fabulously, fierce, woman who knows it is her time to do what she wants, when she wants, where she wants, with whomever she wants.... The first 2 lad...
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DJI Phantom Vision flight over Freedom Lake Park
2nd day playing with the DJI Phantom Vision! Still got a long ways to go but its a start.
By: M. Asif
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STORY HIGHLIGHTS
(CNN) -- Arizona's divisive SB1026 -- which supporters claim protected religious freedom, and critics say served as cover for businesses to discriminate against gays and lesbians -- didn't come from nowhere.
It took time to hash out among both state lawmakers and interest groups. In this case, advocates from the Arizona Center for Policy and Alliance Defending Freedom -- whose website says it "coordinates legal efforts (for) Christian legal and policy organizations" all across the United States and in 31 countries -- were among those who played a part in crafting the legislation.
But from where, or from whom, did the impetus come? And who paid for the Arizona push and similar ones in a host of other states?
America may never know.
The reason has to do partly with the often collaborative, coordinated way that legislation takes shape. Numerous players inside and outside government, and based inside and outside of Arizona, helped make it happen. Some of them spoke publicly; others worked behind the scenes.
Plus, it takes money to coordinate and spread such a message and legislative proposals nationwide. Good luck tracking such funds, given the ways that groups -- known as 501c4s -- can pop up overnight, spend money on causes and campaigns (without disclosing their donors), then disappear.
"Because there are holes in the disclosure regime," said Ian Vandewalker from New York University law school's Brennan Center for Justice, "there are things that we just don't know."
Efforts under way in at least 14 states
Other states have proposed legislation aimed at protecting what their authors call "religious freedom." Some essentially use identical language.
View original post here:
STORY HIGHLIGHTS
(CNN) -- Arizona's divisive SB1026 -- which supporters claim protected religious freedom, and critics say served as cover for businesses to discriminate against gays and lesbians -- didn't come from nowhere.
It took time to hash out among both state lawmakers and interest groups. In this case, advocates from the Arizona Center for Policy and Alliance Defending Freedom -- whose website says it "coordinates legal efforts (for) Christian legal and policy organizations" all across the United States and in 31 countries -- were among those who played a part in crafting the legislation.
But from where, or from whom, did the impetus come? And who paid for the Arizona push and similar ones in a host of other states?
America may never know.
The reason has to do partly with the often collaborative, coordinated way that legislation takes shape. Numerous players inside and outside government, and based inside and outside of Arizona, helped make it happen. Some of them spoke publicly; others worked behind the scenes.
Plus, it takes money to coordinate and spread such a message and legislative proposals nationwide. Good luck tracking such funds, given the ways that groups -- known as 501c4s -- can pop up overnight, spend money on causes and campaigns (without disclosing their donors), then disappear.
"Because there are holes in the disclosure regime," said Ian Vandewalker from New York University law school's Brennan Center for Justice, "there are things that we just don't know."
Efforts under way in at least 14 states
Other states have proposed legislation aimed at protecting what their authors call "religious freedom." Some essentially use identical language.
Read more from the original source:
Who's behind 'religious freedom' push? The answer is hard to find
The uproar over the religious freedom bill vetoed Wednesday by Arizona Gov. Jan Brewer is expected to have a chilling effect on the handful of similar bills making their way through other state legislatures.
Attorneys with the American Civil Liberties Union said they were cheered by the veto during a telephone press briefing Thursday, calling it a thrilling day for equality, but said that theyre keeping an eye on bills in other states, including Georgia, Mississippi and Missouri.
SEE ALSO: Rush Limbaugh: Arizonas Jan Brewers bullied by the homosexual lobby
These proposals would create a license to discriminate, said Rose Saxe, senior staff attorney with the ACLUs LGBT Project. A significant majority of them are not about cakes and wedding services, as the other side would have us think, but are actually about all aspects of LGBT peoples lives.
At least seven other states have seen similar bills either killed or withdrawn this year. The most prominent was a Kansas bill that would have allowed business owners to refuse service to customers based on their religious beliefs, which stalled in the state Senate after a similar outcry from gay rights groups.
Many of those defeats, culminating in the Arizona veto, came after gay rights groups successfully defined the bills as pro-discrimination, declaring they would allow businesses to return to the days of Jim Crow laws in the South. The bill was also vociferously opposed by the states leading business groups and corporations.
Proponents of the measures insisted that the bills would do nothing of the sort. The measures were originally proposed to protect business owners from being forced to violate their religious beliefs by catering to gay weddings or risk losing their licenses.
Joe La Rue, legal counsel for the Alliance Defending Freedom in Scottsdale, said that argument has been largely drowned out by the media outcry.
[W]hen they started talking about, This bill is going to turn us back to the days of Jim Crow, and youre going to have people kicked out of restaurants, and youre going to have people dying in the streets because doctors wont treat them nobody wants that, said Mr. La Rue. Frankly, the supporters of the bill dont want that, and they would never do that.
Once that message took root, however, the bill was doomed, he said.
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(Editor's note: The current episode of Curious City's podcast includes the interview portion of this story about Freedom Wall. That interview begins at 4 minutes, 55 seconds. Also, we're taking your suggestions about who should be included in a contemporary, digital Freedom Wall.)
If you ride the Brown Line or the Purple Line through Chicagos River North neighborhood, youve probably seen this list of names. Its on the side of a brick building on Huron Street, where the Nacional 27 restaurant is located. The black banner stretches 72 feet high. Martin Luther King is at the top. Farther down, youll see Harriet Tubman, the Dalai Lama, Frank Zappa, Ayn Rand and more.
Dominique Lewis caught glimpses of those 69 names in white letters as well as one mysterious blank line as she rode the Purple Line to work every day. I thought, Thats weird. Why is Rush Limbaugh on a list with Martin Luther King Jr.? she says. So she asked Curious City to investigate the list's history and whether there's a common theme that connects those names.
Well, its called Freedom Wall, and all of the names represent freedom ... or someones idea of freedom, anyway. The artist who created it Adam Brooks, a Columbia College professor who grew up in London says he didnt have a partisan political agenda when he put up the list 20 years ago this August. In fact, he went out of his way to include conservative as well as liberal opinions about who represents freedom. And he avoided spelling out the word freedom on the banner because he wanted to make people think. He certainly got Lewis thinking.
Brooks acknowledges that Freedom Wall prompts some people to ask, Wait, thats supposed to be art? But he appears to have very little ego about his artwork, not even bothering to sign it. Brooks is trying to engage the public with his public art, not to dazzle people with his artistic prowess.
We invited Brooks to the WBEZ studios to discuss Freedom Wall. Lewis joined us for the conversation and added some questions of her own. Heres an edited transcript of our discussion.
Why did you create Freedom Wall?
Brooks: In 1992 and the lead-up to the presidential election that year, I heard the candidates really ramping up the idea of freedom. Of course, whos going to be against freedom? America is the land of the free. I was interested in exploring that word a little bit further.
Why did you seek other peoples opinions?
Brooks: It wouldve been very easy for me to sit down and draw up a list of names of people that I felt embodied the idea of freedom, but that wouldve been rather boring. And so what I did was essentially ask the question, Give me the names of up to three people that you feel embody the concept of freedom, whatever that means to you.
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nClear Eugenics Eight - Catch The Sunset
Amazing Buy: http://www.beatport.com/release/liquidnation-ep-vol-4/1209836 nClear: http://soundcloud.com/nclear http://www.facebook.com/nclear.me http://nc...
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By Matt Smith, CNN
updated 7:06 PM EST, Thu February 27, 2014
STORY HIGHLIGHTS
(CNN) -- A promising way to stop a deadly disease, or an uncomfortable step toward what one leading ethicist called eugenics?
U.S. health officials are weighing whether to approve trials of a pioneering in vitro fertilization technique using DNA from three people in an attempt to prevent illnesses like muscular dystrophy and respiratory problems. The proposed treatment would allow a woman to have a baby without passing on diseases of the mitochondria, the "powerhouses" that drive cells.
The procedure is "not without its risks, but it's treating a disease," medical ethicist Art Caplan told CNN's "New Day" on Wednesday. Preventing a disease that can be passed down for generations would be ethical "as long as it proves to be safe," he said.
"These little embryos, these are people born with a disease, they can't make power. You're giving them a new battery. That's a therapy. I think that's a humane ethical thing to do," said Caplan, the director of medical ethics at New York University's Langone Medical Center.
"Where we get into the sticky part is, what if you get past transplanting batteries and start to say, 'While we're at it, why don't we make you taller, stronger, faster or smarter?' "
But Susan Solomon, the director of the New York Stem Cell Foundation, said there are no changes to existing genes involved.
"There is no genetic engineering. It isn't a slippery slope. It's a way to allow these families to have healthy children," said Solomon, whose organization developed the technique along with Columbia University researchers.
Original post:
By Matt Smith, CNN
updated 7:06 PM EST, Thu February 27, 2014
STORY HIGHLIGHTS
(CNN) -- A promising way to stop a deadly disease, or an uncomfortable step toward what one leading ethicist called eugenics?
U.S. health officials are weighing whether to approve trials of a pioneering in vitro fertilization technique using DNA from three people in an attempt to prevent illnesses like muscular dystrophy and respiratory problems. The proposed treatment would allow a woman to have a baby without passing on diseases of the mitochondria, the "powerhouses" that drive cells.
The procedure is "not without its risks, but it's treating a disease," medical ethicist Art Caplan told CNN's "New Day" on Wednesday. Preventing a disease that can be passed down for generations would be ethical "as long as it proves to be safe," he said.
"These little embryos, these are people born with a disease, they can't make power. You're giving them a new battery. That's a therapy. I think that's a humane ethical thing to do," said Caplan, the director of medical ethics at New York University's Langone Medical Center.
"Where we get into the sticky part is, what if you get past transplanting batteries and start to say, 'While we're at it, why don't we make you taller, stronger, faster or smarter?' "
But Susan Solomon, the director of the New York Stem Cell Foundation, said there are no changes to existing genes involved.
"There is no genetic engineering. It isn't a slippery slope. It's a way to allow these families to have healthy children," said Solomon, whose organization developed the technique along with Columbia University researchers.
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