An Ode to the Design Legend Behind the Soy Sauce Bottle and Bullet Train

Odds are good that you're familiar with the work of Kenji Ekuan, even if you don't know his name. Ekuan, who died in Japan yesterday at the age of 85, was the force behind some of the most iconic industrial design of the 20th centuryand he said he was inspired to do it after the atomic bomb annihilated his home in Hiroshima.

If you've ever poured soy sauce from the tear drop Kikkoman bottle or pined over a 1960s Yamaha motorcycle, you know Ekuan's designs. The red-capped bottle, which Ekuan designed in 1961, was the epitome of sleek, futuristic world of 1960s Japana country that was just beginning to emerge out of the brutal post-War era and into an economic and cultural boom time. Ekuan also designed the Komachi bullet train, which hit the rails as one of the first high-speed bullet train in the world.

He was the voice behind some of the most compelling technologies of the 20th centuryJapan's answer to Raymond Loewywhose work articulated the speed and futurism of the modern age but never ignored the humans using it.

Images: The Yamaha YA-1, via Yamaha Community.fr; Komachi bullet train by ykanazawa1999/CC.

Ekuan said that the human-centered aspect of his work had its roots in the bombing of Hiroshima in 1945. He was just a teenager when the bomb hit the city, killing his sister and father. In an interview from 2010, he describes how the horror and desolation of that time inspired him to become a designer:

When I decided to be a designer, I was in Hiroshima. The time was right after the war. After the atomic bomb everything became nothing. So there I am standing in the burned city, looking down at my house, but nothing. I was so shaken. And I decided to connect the material things, because for a long time, human beings have connected with material things. I thought to myself, we need something to bring back the material things to human life. To do something good for people, and good for myself. So I decided to be a designer.

So he studied to become an industrial designer, linking up with a group of like-minded fellow students and forming a company through which he would work for decades. That line of reasoningthat objects should be sources of comfort, of pleasure and joyran through his entire career, which ranged from motorcycles to sewing machines to trains to, yes, soy sauce bottles.

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An Ode to the Design Legend Behind the Soy Sauce Bottle and Bullet Train

At TempleCon, life as it could be if only for a few hours /+Gallery

SOMEWHERE NEAR EARTH Capt. Ali Luckhardt stands on the bridge of the starship Chaos, her four officers seated at their combat stations in front of her as she tracks a hostile ship on the main view screen.

Go to red, she orders communications officer Chelsea Czekalski.

All decks reporting red alert, Czekalski replies with practiced calm.

Permission to fire? asks tactical officer Randall Ortubia.

Not yet, Luckhardt replies. We want to talk to them first.

But the enemy chooses to talk with missiles and photon torpedoes.

Raise shields, Luckhardt orders. Fire!

Missiles away, reports Ortubia.

But things dont go well.

Fire anything else we have, Luckhardt orders, desperation creeping into her voice.

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At TempleCon, life as it could be if only for a few hours /+Gallery

At TempleCon, life as it could be if only for a few hours

SOMEWHERE NEAR EARTH Capt. Ali Luckhardt stands on the bridge of the starship Chaos, her four officers seated at their combat stations in front of her as she tracks a hostile ship on the main view screen.

Go to red, she orders communications officer Chelsea Czekalski.

All decks reporting red alert, Czekalski replies with practiced calm.

Permission to fire? asks tactical officer Randall Ortubia.

Not yet, Luckhardt replies. We want to talk to them first.

But the enemy chooses to talk with missiles and photon torpedoes.

Raise shields, Luckhardt orders. Fire!

Missiles away, reports Ortubia.

But things dont go well.

Fire anything else we have, Luckhardt orders, desperation creeping into her voice.

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At TempleCon, life as it could be if only for a few hours

Futurismus Wikipedia

Der Futurismus war eine aus Italien stammende avantgardistische Kunstbewegung, die aufgrund des breit gefcherten Spektrums den Anspruch erhob, eine neue Kultur zu begrnden.

Der Einfluss des Futurismus geht wesentlich auf seinen Grnder Filippo Tommaso Marinetti zurck und dessen erstes futuristisches Manifest von 1909. Die Bewegung endete mit dem Tod Marinettis im Jahre 1944.

Am 20. Februar 1909 publizierte der junge italienische Jurist und Dichter Filippo Tommaso Marinetti in der franzsischen Zeitung Le Figaro sein futuristisches Manifest und begrndete damit die futuristische Bewegung:

Trotz der hufigen Verwendung von Wir hat Marinetti das Manifest allein konzipiert (Pluralis Modestiae). Es spiegelt die berzeugungen und die Verfassung eines jungen Millionrssohnes wider, der mit siebzehn Jahren auf sich allein gestellt im Paris des Fin de Sicle Erfahrungen sammelte. Geprgt wurde er dabei von seinem literarischen Freundeskreis, zu dem vor allem Symbolisten wie Guillaume Apollinaire, Joris-Karl Huysmans und Stphane Mallarm gehrten, die sich, zur Gewalt bekennend, gegen die herrschende brgerliche Ordnung auflehnten. Mit ihnen stand Marinetti auch den Anarchisten wie Pierre-Joseph Proudhon, Michail Bakunin und vor allem Georges Sorel nicht fern und begrte die Attentate ihrer Aktivisten. Im Manifest findet man auch Gedankengut von Friedrich Nietzsche. Wie Nietzsches Zarathustra, streben Marinettis Helden ihre Ziele allein gegen eine feindliche Welt ohne Rcksicht auf ihr Umfeld gewaltttig an.

Neben der Ablehnung der (christlichen) Moral und der Abneigung Marinettis gegenber Frauen zeigt sich im Manifest das Fehlen jeglicher sozialer Bezge. Nach einem vollendeten Jura-Studium fasste er den Entschluss, nicht in die Fustapfen seines erfolgreichen Vaters zu treten, sondern eine neue Kulturrichtung ins Leben zu rufen.

Das Manifest war als provokativer Tabubruch konzipiert, der Jugend, Gewalt, Aggressivitt, Geschwindigkeit, Krieg und Rcksichtslosigkeit verherrlichte und den als Passatisten (Anhnger des Vergangenen) bezeichneten etablierten Kulturtrgern und deren Anhngern den Kampf ansagte. Die Zerstrung von Bibliotheken, Museen und Akademien als Hort des Passatismus (berlebte Anschauungen) sollte der neuen Kultur den Weg ebnen und Italien eine neue kulturelle Identitt verleihen. Dazu Giovanni Lista:[2]

Die italienischen Knstler waren stets von der Idee gelhmt, nur die Nachkommen eines nunmehr verschwundenen Ruhms zu sein. Gegen diese Zwangsvorstellung von der unerreichbaren Vergangenheit verkndete Marinetti, dass sich eine neue Welt ankndige, und dass Italien jetzt seinen jahrhundertealten Ruhm zu Grabe tragen und vom Gewicht seiner herrlichen Vergangenheit befreien msse.

Selbst dieses provokative Manifest wre im skandalgewohnten Paris wohl ber ein Tagesgesprch nicht hinausgekommen, htte nicht Marinetti das in Knstlerkreisen geweckte Interesse dazu gentzt, einen Kreis junger Knstler um sich zu scharen und zu konzertiertem Schaffen zu bewegen, was er durch finanzielle Zuwendungen zu frdern verstand.

Zum Grundritual des Futurismus gehrten die zahlreichen Manifeste, mit denen sich der Futurismus in seiner Gesamtheit und in seinen Teilbereichen prsentierte.

Was den Futurismus von anderen Kunstrichtungen deutlich unterschied und zu dessen Verbreitung entscheidend beitrug, war die Art der Prsentation. Marinettis Serate futuriste (Futuristische Abende), die er ab 1910 vor allem in norditalienischen Theaterslen veranstaltete, sollten primr provozieren.[3] Deshalb begannen solche Abende grundstzlich mit der verbalen Herabsetzung der jeweiligen Stadt und ihrer Brger. Anschlieend wurden Manifeste verlesen, futuristische Kunstwerke gezeigt, futuristische Musik gespielt sowie Ausschnitte aus futuristischer Theaterkunst geboten. Solche Abende waren aus der Sicht Marinettis nur dann erfolgreich, wenn es sptestens zu Ende der Veranstaltung zu einem Tumult mit Einschreiten der Sicherheitskrfte kam und das Medienecho entsprechend gro war.

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Futurismus Wikipedia

Modern Art Timeline – Artists, Movements and Styles

Impressionism (c.1870-1890)

CLAUDE MONET (1840-1926) 'Rouen Cathedral in Full Sunlight', 1893-94 (oil on canvas)

Impressionism is the name given to a colorful style of painting in France at the end of the 19th century. The Impressionists searched for a more exact analysis of the effects of color and light in nature. They sought to capture the atmosphere of a particular time of day or the effects of different weather conditions. They often worked outdoors and applied their paint in small brightly colored strokes which meant sacrificing much of the outline and detail of their subject. Impressionism abandoned the conventional idea that the shadow of an object was made up from its color with some brown or black added. Instead, the Impressionists enriched their colors with the idea that a shadow is broken up with dashes of its complementary color.

Among the most important Impressionist painters were Claude Monet, Pierre Auguste Renoir, Edgar Degas, Camille Pissarro, Alfred Sisley and Henri de Toulouse Lautrec.

VINCENT VAN GOGH (1853-90) 'Caf Terrace at Night', 1888 (oil on canvas)

Post Impressionism was not a particular style of painting. It was the collective title given to the works of a few independent artists at the end of the 19th century. The Post Impressionists rebelled against the limitations of Impressionism to develop a range of personal styles that influenced the development of art in the 20th century. The major artists associated with Post Impressionism were Paul Czanne, Paul Gauguin, Vincent Van Gogh and Georges Seurat.

Czanne was an important influence on Picasso and Braque in their development of Cubism. Van Gogh's vigorous and vibrant painting technique was one of the touchstones of both Fauvism and Expressionism, while Gauguin's symbolic color and Seurat's pointillist technique were an inspiration to 'Les Fauves'.

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Modern Art Timeline - Artists, Movements and Styles

42 Visions For Tomorrow From The Golden Age of Futurism

It's 2015. But sometimes it feels like our futuristic dreams are stuck in the 1950s and 60s. And there's actually a good reason for that.

The period between 1958 and 1963 might be described as a Golden Age of American Futurism, if not the Golden Age of American Futurism. Bookended by the founding of NASA in 1958 and the end of The Jetsons in 1963, these few years were filled with some of the wildest techno-utopian dreams that American futurists had to offer. It also happens to be the exact timespan for the greatest futuristic comic strip to ever grace the Sunday funnies: Closer Than We Think.

Jetpacks, meal pills, flying cars they were all there, beautifully illustrated by Arthur Radebaugh, a commercial artist based in Detroit best known for his work in the auto industry. Radebaugh would help influence countless Baby Boomers and shape their expectations for the future. The influence of Closer Than We Think can still be felt today.

How many of these visions of the future are we still waiting on?

Cars have made tremendous strides in fuel efficiency over the past half century. But we're still waiting for this sunray sedan a solar-powered car that was promised from no less an authority than a vice president at Chrysler.

People of the 1950s and 60s seemed to be obsessed with protecting their homes from the weather. Even if it meant literally living in a bubble, like this suburban utopia, which was protected from the elements by a giant, glass dome.

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42 Visions For Tomorrow From The Golden Age of Futurism

Humans 3.0 Paints Our Techno-Future As Very Bright

Are we hurtling towards technological dystopia, or a futuristic fantasy world in which our hardware and software innovations provide a human experience that excels in almost every way compared to that which we know today? Thats the basic question at the heart of Peter Nowaks Humans 3.0 , a survey of our technical development, which incorporates some futurism peering forward along the path leading to a potential Kurzweilean Singularity. Nowak deftly guides us to a complex, credible and positive conclusion throughout his book-length inquiry, but I still cant help but wonder if some of the answers he provides along the journey come too readily.

Novak, a Canadian technology journalist with a decades-long career and impressive publishing history, has created in Humans 3.0 something akin to an anti-venom for the kind of fear-mongering technophobic portrayals of robot-controlled, despotic human futures that tend to pervade a lot of sci-fi texts, and that all too-often find their way into news media accounts of developments in AI, robotics and general computing. The book presents a view of techs progress that is much more in keeping with what you might find on blogs like this one, where the audience is more inclined to take for granted that innovation and technological advancement are by definition positive outcomes. But it specifically doesnt take that for granted, and instead sets about building a case, supported by interviews from subject matter experts around the world, as well as information gleaned from a strong collection of studies.

Towards the end of the book, Nowak acknowledges that he set out with an overall optimism about technology and its overall beneficial effects on human progress, but ultimately the positivity of the books message surprises even the author, by his own admission. And as was his goal, Novak has indeed made a case that supports that message, and one that indeed proves useful for the books apparent audience, which struck me as likely a more general reader with an interest in consumer tech, but lacking a deep and pervasive knowledge. The historical survey and scene-setting Novak offers is interesting and useful even if youre already familiar with much of what hes discussing, but its structured such that readers lacking deep context shouldnt ever find themselves lost.

Optimism, in a book that tackles this subject matter that isnt already aimed at the tech faithful comes across as refreshing, genuine and convincing in Humans 3.0 . That convincing bit, though, at times owes more to Novaks skill with prose than to the facts on hand. In these instances, the book can feel a little like the musings of a technofuturistic Dr. Paingloss: All is for the best, after all, in this, the best of all possible evolutions of human scientific and technological progress.

Consider, for instance, Novaks answer to the valid concern regarding what humans will do as robots assume responsibility for more of the labor that once provided them jobs. In lieu of numbers to offer reassurances of newly created roles and opportunities, Novak indeed points to the fact that while The Great Recession has resulted in what qualifies as a recovery according to many economic measures, it still hasnt seen employment rates rise along the lines weve seen with previous recoveries. Novak concludes that this is in part because companies are doubling productivity without resorting to traditional producers, embracing technological solutions in stead.

Humans will eventually get over this setback, which Novak characterizes as temporary, simply by coming up with new things for people to do. Theres a lack of jobs mostly because we arent yet creative enough to come up with new ones. Entrepreneurship as a blanket human enterprise then gets the nod as the eventual source of new, rewarding gigs for those whove seen their old ones disappear.

For me, this point is less well-made than the others Novak brings up. It seems more like hand-waving, especially given the rigor of the rest of the argument made in Humans 3.0 . Which isnt to say its not a valid theory: Rather, it just seems much more like educated guesswork than anything else presented. Likewise, when social media is used toward the end of the book as an example of how we might come to think of humanity as a universal extended family, I couldnt help but want for at least a discussion of how its use can also result in extreme alienation, such as in the most aggressive forms of online trolling and cyber-bullying.

These criticisms dont undermine Novaks larger argument, however, even if I am left more skeptical of the conclusions of Humans 3.0 than Novak himself. The book has a clear bent, but it doesnt make that a secret, nor does it feel as though its purposefully obfuscating anything in order to make its points. Its also an extremely easy and pleasant read, which has clearly been thoroughly researched and which expertly weaves in a good number of well-chosen first-hand sources.

If youre at all interested in Kurzweil, the Singularity, initiatives like Googles Calico or visionary technologists like Elon Musk, Humans 3.0 provides an accessible, enjoyable starting point that avoids some of the fawning and complexity of other futurist texts. Im still not convinced about the certainty of the coming techno utopia, but Im far less sure Ill wind up enslaved to unfeeling robotic overlords.

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Humans 3.0 Paints Our Techno-Future As Very Bright

'Crumbs': Rotterdam Review

Courtesy of International Film Festival Rotterdam

Unpredictable Filmic Oddity

Venue International Film Festival Rotterdam (Bright Future), January 29 2015

Director Miguel Llanso

Cast Daniel Tadesse, Selam Tesfaye

Short proves sweet in Spanish writer-director Miguel Llanso's bizarro mid-lengther Crumbs, an outlandish and imaginative sci-fi miniature from Ethiopia whose $225,000 budget probably matches Jupiter Ascending's prosthetic-ear bill. Making potent use of spectacularly extraterrestrial locations in the country's sun-baked far north around the ghost-town Dallol, it takes an exotic and sometimes surreal approach to what's essentially a simple, touching love-story. And while not all of Llanso's flights of fancy get very far off the ground, there's enough going on here to ensure plentiful further festival bookings in the wake of a generally well-received Rotterdam bow.

If the 68-minute running-time proves a headache for programmers, Crumbs has an obvious companion-piece in Fanta Ananas' 11-minute Chigger Ale (2013), a similarly deadpan-berserk slice of lo-fi, Amharic-language Afro-futurism. Llanso is officially only credited as producer on that film, but Crumbs may stoke suspicion that 'Fanta Ananas' is in fact a pseudonym for the Madrileno provocateur.

Both works star the diminutive, charismatic Daniel Tadesse, who's first glimpsed here running through a Martian-desertine landscape clutching an artificial Christmas-tree. Dodging the attentions of a gun-wielding weirdo in Nazi uniform, Tadesse's 'Birdy' hurries hometo an abandoned bowling-alleyand the affectionate embrace of his partner Candy (stunning newcomer Selam Tesfaye).

But Birdy must soon fly his unorthodox nest. A long-dormant spaceship, which has been floating in the sky for decades, has shown signs of reactivation; Birdy, who believes himself of extraterrestrial origin, reckons the clunky-looking UFO is his big chance to get back where he came from. Achieving this goal involves a perilous journey to a long-abandoned city, where he ultimately must negotiate with no less an eminence than Santa Claus.

Set in an unspecified epoch after a "big war" and its consequences have severely depopulated the planet, Crumbs posits a micro-civilization where the mass-produced tat of the late 20th century is revered as valuable, even holy. Working on his biggest canvas to date, Llanso peppers his script with throwaway pop-cultural gags (referencing Michael Jordan, Justin Bieber, Stephen Hawking, Michael Jackson, etc) which yield more in the way of chuckles than belly-laughs.

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'Crumbs': Rotterdam Review

T. J. Demos – ‘Gardens Beyond Eden Bio aesthetics Eco futurism and Dystopia at dOCUMENTA (13)’ – Video


T. J. Demos - #39;Gardens Beyond Eden Bio aesthetics Eco futurism and Dystopia at dOCUMENTA (13) #39;
Tuesday Talks at The White Building: T.J. Demos, Gardens Beyond Eden:Bio-aesthetics, Eco-futurism and Dystopia at dOCUMENTA (13) Gardens Beyond Eden 18 June 2013, The White Building ...

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T. J. Demos - 'Gardens Beyond Eden Bio aesthetics Eco futurism and Dystopia at dOCUMENTA (13)' - Video

Ride Share Delivery Service Roadie Launches With $10 Million In Funding

Ride sharing delivery startup Roadie has launched itself with a series A funding round totaling $10 million. The investors in the round include UPS, Warren Stephens of Stephens Inc., TomorrowVentures and others.

The company was founded by Marc Gorlin, whos the CEO. Gorlin is also a cofounder of Kabbage, which provides working capital to small businesses. Gorlin will remain involved with the company as Chairman of the Board.

The concept for the app, which launches today in iOS and Google Play stores, is pretty simple. If you need something delivered from one city to another, you go to the app to see if there are any drivers making the trip during your time frame. A fee is agreed to and the driver delivers the package.

In addition to the fee, drivers who use Roadie are also entitled to roadside assistance and other benefits, and users are able to track their package along the entire trip.

Theres someone leaving somewhere going somewhere all the time, Gorlin told me. Thus you have Roadie.

The idea, Gorlin continued, is that there are people all over the place making regular commutes or trips on the road. Thats a lot of unused transportation capacity, so why not take advantage of it?

Test screenshot of Roadie gigs. (Credit: Roadie)

These are people who are just taking stuff where they were already going to go, Gorlin said. The first gig was a guy who brought a package of t-shirts to Tampa. He made 64 bucks for the same trip he was going to drive without us.

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Ride Share Delivery Service Roadie Launches With $10 Million In Funding

Sundance Review: Craig Zobel's 'Z for Zachariah' is Not Your Typical Post-Apocalyptic Romance

Sun Jan 25 12:45:06 EST 2015

The "Compliance" director's latest film is a minimalist chamber drama with only three actors in its cast.

Courtesy of Sundance Institute. "Z for Zachariah"

Director Craig Zobel's followup to 2012's "Compliance," Z for Zachariah is a solid relationship drama disguised as post-apocalyptic tale. The events of the film, which take place in the wake of an unspecified nuclear disaster, are defined more by its astute observations of human behavior in the face of devastating loss than any of science fiction conceits. With visuals more focused on lush New Zealand landscapes than abandoned architecture, Zobel and screenwriter Nissar Modi treat the material based on the young adult novel by Robert C. OBrien with an accomplished tone of rugged futurism.

However, reminders of the fictional backdrop are reinforced by the recurring appearances of an advanced HAZMAT suit, starting with the first scene. The character shown scavenging for supplies in a poisoned ghost town is revealed to be Ann Burden, who self-sustains on her father's farm in a beautiful, uninfected valley. Ann is a strong-willed, street-smart woman played with tough honesty by cast MVP Margot Robbie (of "Wolf of Wall Street" fame). Thanks to Robbie, Ann's formidable survival instincts are never obscured by her own character's sweet-natured religious sensibility or by her occasional lapses into human folly. The film suffers most when she's relegated to the background.

When Ann unexpectedly comes across a strapping young fellow survivor named Loomis (Chiwetel Ejiofor), she rescues and nurses him back to health after realizing that he has inadvertently washed himself with infected water. Loomis recovers slowly, and eventually finds himself in a position to offer Ann help with his scientific and technological insights. Ejiofor makes for a compatible match with Robbie, and their chemistry together carefully molded in shades of emotional nuance maintains a compelling hold. The textured approach to each character's behavior deepens an otherwise straightforward narrative. During the first half of the film, their relationship steadily grows more complex, and culminates with a convincing romance.

But progression of their mutual attraction is complicated with the sudden appearance of yet another fellow survivor, this one named Caleb (Chris Pine). Loomis immediately feels jealousy toward Caleb's attributes he's a smooth talking religious hunk who's more brawn than brain. At this point, the focus of the film shifts somewhat abruptly to a competition of masculinity that Caleb eagerly plays, as the emerging love triangle becomes increasingly difficult for all parties to ignore.

The twist arrives to the detriment of the film, given the agreeably more subdued approach to its characters' detailed interactions that came earlier. Although Ann remains at the center of the triangle, the story gets away from her. It doesn't help that Pine's character receives the least substantive development into a character, which is a problem for making the rivalry fully convincing (at times, it's hard not to think of his recent tongue-in-cheek turn in "Into the Woods"). Still, in spite of the lesser material, Pine does a fine job at playing the male tempter to Ann and the animalistic threat to Loomis.

With only three actors onscreen, "Z for Zachariah" owes much to its visual appeal. The photography by cinematography Tim Orr (a David Gordon Green regular) plays up the stillness of the landscape, while the film's unfussy conclusion punctuates its admirably minimalist approach. Even as the storys increased tension weakens its subtleties, Zobel's sensitive handling of the emotional tone throughout grounds the film with an overarching realism despite the far-fetched setting.

"Z for Zachariah" premiered this weekend at the Sundance Film Festival. Lionsgate will release it theatrically later this year.

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Sundance Review: Craig Zobel's 'Z for Zachariah' is Not Your Typical Post-Apocalyptic Romance