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Freedom Credit Union | Mortgages, home equity loans, student …

Freedom Credit Union | Mortgages, home equity loans, student loans, car loans, business loans | Western Massachusetts

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Communication is our Foundation

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Freedom Boat Club | Private Membership Boating Club

Freedom Boat Club | Private Membership Boating Club

Find Your Closest Club Location

Select a Location AL-Orange BeachBC-Port MoodyBC-VancouverCA-CA Delta PittsburgCA-CA Delta StocktonCA-Huntington BeachCA-Los AngelesCA-San Diego Mission Bay DanCA-San Diego Bay Cabrillo IsCA-San Francisco CT-BranfordCT-Deep RiverCT-MysticCT-StamfordCT-StratfordCT-WestbrookDC-WashingtonDE-LewesDE-Long NeckFL-Bay PinesFL-Bonita Springs Bonita BeaFL-BradentonFL-Cape CanaveralFL-Cape CoralFL-ClearwaterFL-Crystal RiverFL-Daytona BeachFL-DestinFL-DunedinFL-Englewood Ainger Creek MaFL-Englewood Cape HazeFL-Fort Myers BeachFL-Fort Myers MarineMaxFL-Fort Walton BeachFL-Ft. PierceFL-Hernando BeachFL-Homosassa SpringsFL-IslamoradaFL-Jacksonville BeachFL-Jacksonville MandarinFL-Johns PassFL-Lake HarrisFL-Lake TarponFL-Lantana at Suntex MarinaFL-Marco IslandFL-Melbourne VieraFL-MiamiFL-Naples BayfrontFL-Naples Brookside MarinaFL-New Smyrna BeachFL-Palm CoastFL-Panama City BeachFL-PensacolaFL-Pensacola BeachFL-Perdido KeyFL-Pine IslandFL-Port HudsonFL-Punta Gorda Burnt StoreFL-Punta Gorda Laishley ParkFL-RuskinFL-SanfordFL-Sarasota Hidden Harbor MaFL-Sarasota Marina JackFL-Sebastian InletFL-St. AugustineFL-St. PetersburgFL-St. Petersburg SkywayFL-Stuart Pirates Cove MarinFL-Tampa I (Hula Bay)FL-Tampa II (Ricks on the RiFL-Tampa III (Harbour IslandFL-Tarpon SpringsFL-Test LocationFL-Tierra VerdeFL-Treasure IslandFL-VeniceFL-Venice MarineMaxFL-Vero BeachFL-West Palm Beach Lake ParFL-Winter HavenFR-La RochelleFR-PornicGA-Lake Lanier Bald RidgeGA-Lake Lanier HolidayGA-Lake OconeeGA-Richmond HillGA-SavannahGA-St. Simons IslandIL-Chicago Montrose HarborIL-Chicago Streeterville IN-Michigan City Washington KY-Greater CincinnatiLA-MadisonvilleMA-BeverlyMA-BostonMA-Cape Cod Cataumet MA-Cape Cod ChathamMA-Cape Cod East DennisMA-Cape Cod FalmouthMA-Cape Cod West DennisMA-CharlestownMA-HinghamMA-NewburyportMA-QuincyMA-ScituateMD-Annapolis Fairwinds MarinMD-Annapolis Horn Point HarbMD-Baltimore Harbor EastMD-Baltimore Middle RiverMD-Deale Shipwright HarborME-Naples MaineME-Portland MaineME-Yarmouth MaineMI-Grand HavenMI-HollandMI-Lake St. ClairMI-St. JosephMI-WhitehallMO-Lake of the Ozarks 19MMMO-Lake of the Ozarks 2MMMS-Biloxi NC-Jordan LakeNC-Lake NormanNC-Lake Wylie NC-SouthportNH-NewingtonNH-PortsmouthNJ-Lake HopatcongNJ-Point PleasantNM-Navajo LakeNS-HalifaxNY-BuffaloNY-FreeportNY-Lake GeorgeNY-LindenhurstNY-NorthportNY-Port JeffersonNY-Port WashingtonOH-Catawba Island OH-Cleveland Rocky RiverOH-Huron ON-OttawaON-TorontoOR-PortlandPA-Lake WallenpaupackRI-BarringtonRI-NewportRI-PortsmouthRI-WarwickSC-Hilton Head IslandSC-Lake HartwellSC-Mt. PleasantSC-Murrells Inlet SC-North Myrtle BeachSC-Pawleys IslandSC-Port RoyalSC-Seabrook IslandTN-KnoxvilleTN-Nashville Cedar Creek MarTN-Nashville Four Corners MaTX-Clear LakeTX-Dallas Lake LewisvilleTX-Lake AustinTX-Lake ConroeTX-Lake Travis Rough Hollow TX-Lake Travis Sandy Creek YVA-Lake AnnaVA-PortsmouthVA-WoodbridgeWA-BremertonWA-EdmondsWA-Lake Washington KirklandWA-OlympiaWA-SeattleWA-Tacoma

Freedom Boat Club: The Affordable Alternative to Boat Ownership

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Freedom Boat Club | Private Membership Boating Club

Freedom (2015) – Rotten Tomatoes

Two men separated by 100 years are united in their search for freedom. In 1856 a slave, Samuel Woodward and his family, escape from the Monroe Plantation near Richmond, Virginia. A secret network of ordinary people known as the Underground Railroad guide the family on their journey north to Canada. They are relentlessly pursued by the notorious slave hunter Plimpton. Hunted like a dog and haunted by the unthinkable suffering he and his forbears have endured, Samuel is forced to decide between revenge or freedom. 100 years earlier in 1748, John Newton the Captain of a slave trader sails from Africa with a cargo of slaves, bound for America. On board is Samuel’s great grandfather whose survival is tied to the fate of Captain Newton. The voyage changes Newton’s life forever and he creates a legacy that will inspire Samuel and the lives of millions for generations to come.

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Freedom (2015) – Rotten Tomatoes

Welcome to Freedom Health | Freedom Health

Website Disclaimer

Freedom Health, Inc. is an HMO with a Medicare contract and a contract with the state Medicaid program. Enrollment in Freedom Health, Inc. depends on contract renewal. This Information is not a complete description of benefits. Call 1-800-401-2740 (TTY: 711) for more information. Medicare beneficiaries may also enroll in Freedom Health through the CMS Medicare Online Enrollment Center located at http://www.medicare.gov. Every year, Medicare evaluates plans based on a 5-star rating system.

Freedom Health, Inc. has been approved by the National Committee for Quality Assurance (NCQA) to operate as a Special Needs Plan (SNP) until 2020 based on a review Freedom Health, Inc.s Model of Care.

Freedom Health, Inc. complies with applicable Federal civil rights laws and does not discriminate on the basis of race, color, national origin, age, disability, or sex. Freedom Health, Inc. cumple con las leyes federales de derechos civiles aplicables y no discrimina por motivos de raza, color, nacionalidad, edad, discapacidad o sexo. Freedom Health, Inc. konfm ak lwa sou dwa sivil Federal ki aplikab yo e li pa f diskriminasyon sou baz ras, koul, peyi orijin, laj, enfimite oswa sks. Espaol (Spanish): ATENCIN: Si habla espaol, tiene a su disposicin servicios gratuitos de asistencia lingstica. Llame al 1-800-401-2740 (TTY: 711). Kreyl Ayisyen (French Creole): ATANSYON: Si w pale Kreyl Ayisyen, gen svis d pou lang ki disponib gratis pou ou. Rele 1-800-401-2740 (TTY: 711).

These materials may be made available in alternate formats (e.g., large print, Braille) to individuals with disabilities, upon request.

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Welcome to Freedom Health | Freedom Health

Freedom Synonyms, Freedom Antonyms | Thesaurus.com

The spirit and the gifts of freedom ill assort with the condition of a slave.

It seems to me that life is no life, but living death, without that freedom!

The cause of freedom owes her much; the country owes her much.

Under the eternal urge of freedom we became an independent Nation.

Because we are free we can never be indifferent to the fate of freedom elsewhere.

They add up to only a tiny fraction of the price that has been paid for our freedom.

It is not profane if I now say, ‘with a great price obtained I this freedom.’

There are those in the world who scorn our vision of human dignity and freedom.

Freedom is one of the deepest and noblest aspirations of the human spirit.

We believe that all men have the right to freedom of thought and expression.

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Freedom Synonyms, Freedom Antonyms | Thesaurus.com

Beyonc FREEDOM Lyrics | Genius Lyrics

Freedom is an anthem dedicated to black women. The song brings Beyoncs visual album to an apex with the scene hope and features the mothers of Trayvon Martin, Michael Brown, and Eric Garner pictured with photos of their deceased sons.

Throughout the song, Beyonc alludes to herself as a force of nature who can empower other women like herself to break free of the bonds society places on them. She addresses her struggle with infidelity as a black woman, as well as alluding to the history of slavery inflicted upon African-Americans, including current issues and the Black Lives Matter movement. Beyonc and her writers, musicians, and producers sonically reference the musical memories of all those periods.

Beyonc is joined by Kendrick Lamar in their first ever collaboration. While Beyonc focuses on womens issues, Kendrick continues to touch on institutionalized racism, a major theme of his critically acclaimed 2015 album To Pimp A Butterfly. However, Kendrick also brings women to the forefront, alluding to 2Pacs Dear Mama and Ride 4 Me while sending a message of empowerment to his own mother.

In Kendricks verse, he employs a style of writing that counts down from ten to five, before switching to a syllable count to further the countdown. This gives the impression that Kendrick is counting down towards something significant. Within context of the song (and the final bars of the verse), Kendrick is likely counting down to freedom from oppression. Yasiin Bey employs a similar writing style on Mathematics.

Along with issues affecting black women, social equality justice are major motifs of this song.

Producer Just Blaze told the Rap Radar podcast that Beyonc came to him with the Let Me Try sample by Kaleidoscope and an already completed demo.

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Beyonc FREEDOM Lyrics | Genius Lyrics

Freedom

What are Freedom Groups?

During a 13-week Small Groups semester, Freedom Groups gather weekly to discuss the Freedom Small Group curriculum, which is designed to equip you to live the victorious and abundant life Christ came to give you. Freedom Groups build on the foundation of your faith in Christ to help you embrace the truth of Gods Word as it relates to your worldview, your past, your sin, your personal value to God, and your purpose in His Kingdom. This group will help you remove every obstacle to intimacy with God and walk in true freedom.

The Freedom Curriculum focuses on six areas of personal growth:

God never wanted us to pursue dead religion, rather His heart is for us to know Him personally and live in our true identity as His children. You will learn what it means to live in the Tree of Life and how a simple but powerful perspective shift can impact every area of your life.

The Bible talks about the Spirit-led life, but this kind of living can feel hard to reach. Through Freedom, you will learn the principles of spiritual order and how feeding your spirit over your emotions and flesh is key to walking in the Spirit.

God calls us to love and serve Him above all else, and when we do, we see how we can grow in our purpose, live forgiven and forgive others, and receive His blessings. Freedom will help you learn how to surrender to Jesus and live in freedom daily.

Our words have power, and by learning to speak words of life that line up with Gods Word, your words can change your environment and relationships and break the power of the enemys words in your life.

God has a unique plan and purpose for our lives, but we also have an enemy who is trying to keep us from fulfilling this purpose. In your Freedom Group, you will learn how to stand in the authority of Jesus to overcome sin and the enemys schemes as you allow God to use your life for His glory.

We all worship something. Freedom will help you learn how to daily direct your worship to God and discover how it can influence the heart of everything you do.

At the end of the Small Groups semester, there is a Freedom Conference that every Freedom Group member is encouraged to attend. The Freedom Conference focuses on solidifying what you learned in Freedom by helping you take next steps to overcome your past and lay a foundation for walking in daily freedom.

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Freedom

Freedom Munitions

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Freedom Munitions

Freedom Guardian – medical alert watch | Medical Guardian

Enjoy the same monitoring benefits and connectivity capabilities the companion app offers including SMS messaging, location tracking, emergency alert history and managing daily tasks all through your computer desktop. Basic account information and Care Circle contacts, resources manuals, tech support, etc. You can also chat with a Customer Care representative should you need help.

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Freedom Guardian – medical alert watch | Medical Guardian

Freedom Debt Relief – Top Debt Settlement and Consolidation …

Getting started is simple

Talk to one of our Certified Debt Consultants to see if Freedom Debt Relief could be the right solution for your debt

Find out how much time and money you could save by partnering with us to resolve your debt

We will negotiate settlements with your creditors until all of your enrolled debt is behind you

You could begin your path to debt relief in just a few days

Debt relief is an opportunity to put your debt behind you without paying the full amount owed. Our debt experts negotiate with your creditors to get them to agree to settle for less than the full amount you owe, so you can resolve your debt for less and in less time than other debt solutions. Check out aFreedom Debt Relief reviewfrom our partners at Bills.com for more information.

As a debt relief company that has been helping people for over 15 years, we know how to create a custom debt relief program that gets you the best possible results.

There are 4 phases in the Freedom Debt Relief program:

Each month, you make a deposit into an FDIC-insured savings account that you control. As your account grows, we create a custom plan to get you out of debt.

After enough funds build up in your account, we negotiate with your creditors to settle your debts for significantly less than you owe.

Our expert negotiators work hard to get you the best savings possible. Every time we settle one of your debts, we contact you for authorization and approval.

After the full settlement amount is paid on each account, you no longer owe your creditors. Your debt is behind you!

Every step of the way, our friendly customer service representatives are ready to answer your questions and offer support. Completeour simple online formto get started today.

Enroll in our program, and its no longer just you against your creditors. Were on your side, ready to help you get out of debt and get on with your life. You dont have to go it alone anymore.

TALK TO US WERE HERE TO HELP

Our customer service representativesare friendly people who are always ready to answer your questions or concerns

TRACK YOUR PROGRESS 24/7

Your online Client Dashboard makes it easy to stay up to date on your settlement status

To learn more about our employees and founders,click here.

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Freedom Debt Relief – Top Debt Settlement and Consolidation …

AFROFUTURISM

The Americas. This is where the End began. The West, the place of Prophecy, the place of Destiny. The genetic cellular database of Ancestral awakenings thrums in tune to the drumbeat call of generations of soul, of pain and joy rising above thespontaneouseruption of life, uncontrollable, unbounded, free of constriction or constraint in its purest form. This is the natural path life takes like water, flowing down or up whatever channel presents a path, making one where none exists, or deepening preexisting ways, widening, eroding resistance whenever encountered to open the way for a more intense flow of energy.

What doesall or any of this have to do with Hip Hop? With a bunch of kids who play their music too loud, who seem to have a fascination with cursing, disrespect of authority and women, baggy clothing, crime and material culture? How is any of this spiritual in nature and what does it have to do with consciousness? To answer these questions fully it is necessary to understand what Hip Hop is, what it really represents, where it came from and where it is going.

Loosely defined, it isthe culture of the urbanized underclass, of the disaffected and the disillusioned masses. A culture of rebellion and revolt that employs every mode of communication known to humanity in order to get its message across. Music, art, the spoken word, the beat, movement. MCing, DJing, Break Dancing/Popping/Locking and Graffiti are its major expressions, all of which encompass the primal cries of those relegated to possessing only their spirits and souls and little else of material substance. As a post-modern deconstruction of a Western European meta-narrative, Hip Hop stands as an exemplar ofthe effect upon the individual of societal ills that are now global in scope. Ageless, as an expression of African-based musical and communicative forms of expression, Hip Hop was informally born as a genre in late 1970s New York City and the surrounding region, expanding relatively quickly from a purely regional expression to its current status as multi-billion dollar music of the global youth culture. It is fair to say that Hip Hop has come a long way. But it is also fair to say that it has a way to go still before it reaches its full potential.

Afrofuturism as a movement has evolved alongside Hip Hop, similarly having no definitive beginning while simultaneously coalescing alongside Hip Hop in urban America during the late 1970s. Its formal inception occurs much later, in the late 1990s and into the 00s as the online presence of African Americans grew stronger. The application of diverse academic traditions to the same questions was the beginning of a process that sought to dissect the cultural and media-based discourse of African-originated and futuristically-themed influence in the preceding decades in the attempt to define their interests and cultural memes.

And so it was that a small, ethnically diverse but concentrated listserv, called Afrofuturism, was born and prospered, for a time. Beyond the vigorous debates, expositions of consciousness, collaborations and intellectualisms lay an underlying strata of vast potentiality and possibility, made manifest through the broad and open genres of science and speculative fiction. The movement was represented by black authors, academics, Hip Hop headz and performers alike, all sharing a similar fascination with futuristic themes and expressions of modern societal tropes under the guise of the fantastic. Afrofuturism never really coalesced as a full-blown cultural shift outside of the avant-garde arts and music scenes of the large urban areas, but the fish bowl-like arena the internet was in those days brought larger and more mainstream attention to this small collective of personalities and ideas, raised against the growing din of diverse voices the Net was soon to become.

Hip Hop and the Afrofuture cannot beseparated from the evolution of America as a nation, but they also cannot be separated from the evolution of consciousness not only of this country, but of the world. The impact of Hip Hop has been felt upon every continent, in every country. Rap is the music of the global youth culture. It is the sound ofrebellionand discontentthat can be heardwhereverthe young are gathered and wherever inequalities have resulted in the formalization of destitution. The original means by which Hip Hop formedhave been repeated in country after country,city after city as the young and the listless have found themselves with little money and no musical education but still possessed of singing hearts and dancing souls, theirs or their parents record collections and an ever-growing mass of CDs and MP3s that consolidate the Music of the Ages. The ready availability and affordability of computers, digital music and sound equipment have created theperfect environment for a large-scale explosion of beat-centered creativity as the hard, biting sounds of rap drive the air and digital-waves toward the resolution of a Hip Hop planet, born to tear down paradigms not built for their edification.

There is Russian Hip Hop, Middle Eastern Hip Hop, African Hip Hop, European Hip Hop, Latin American Hip Hop. You will find baggy jeans and ball caps worn by youth of every ethnicity, shade, size or gender in every country in the world. This acceptance of aquintessentiallyAmerican artform by two generations, X and Y, who are now birthing a third, generation Z, will take the artform into new territory as global consciousness coalesces around the ideals that undergird the very essence of Hip Hop. Freedom of expression and lifestyle choices, a disdain for centralized authority, a dearth of color consciousness and a dislike of the trappings of corporate and/or governmental culture typify the belief system of Hip Hop Headz around the globe. The continuing revelations regarding the world-wide dominance of elite, corporate conspiracies have resulted in an ever-spreading understanding of the many threads that tie in to this reality, be they economic, political or cultural in nature. A wide-spread distrust of governmental measures as well as a realization that corporate culture does not have the best interests of the individual in mind bind diverse cultures and ethnicities together in recognition of their shared servitude and bondage to global consumer culture and hegemonic political domination by a self-serving and mega-rich elite.

The material and mainstream response to the impact of Hip Hop began early in its modern evolution. With the success of the Conscious Hip Hop movement in the United States in the late 1980s and early 1990s, a concerted effort was made on the part ofthe Music Industry to derail the movement by changing the focus of the music from positive messages, African history and evolved states of being to that of material wealth, violence and hyper-sexuality. According to music industry insiders, there was asuccessful attempt to provide monetary incentives and change the focus of individual Hip Hop artists to rap more about these topics and also to contract artists that would create the type of music that glorified self-hate and violence in many forms. This era was accompanied by rising drug use, gang violence in many inner cities and the destruction of previously cohesive neighborhoods by gentrification and urban renewal projects that diffused black power by moving populations out of the urban center and into suburban apartment complexes. The simultaneous influx of illegal drugs as well as the continuing unavailability of stable sources of income into these uprooted communities contributed heavily to the continuing dismantling of black political power. But what the Powers-That-Be did not take into account was the expansion of Hip Hops influence out of the black community and into the white community and from there, into the rest of the world. Even though the possibility of this happening was evident from its earliest beginnings as exemplified by its multi-ethnic composition in the early to mid-80s as it spread like wildfire across America the change in the focus of Hip Hop from a black consciousness to a gangsta/thug mentality that glorified the patriarchy and material accumulation appealed to the children of the suburbs, the children of affluence, the white children of th establishment. Their rebellion against their parents and dedicated economic commitment to Hip Hop raised theart formto national and internationalprominence, if not in spite of, thenbecause of the negative direction the Industry chose to force the music into.

As Hip Hop has evolved within the crucible of a planet in the throes of change, it has come to represent a shifting of consciousness, being the musical form best suited for political and social challenges. Its hard, eviscerating beats, biting and rough dictions and choruses, are theperfect backdrop to a world on the cusp oftransformationalchange. While mainstream Rap still possesses that material edge that glorifies bling, the dollar bill and the objectification of women as sexual objects, underground Hip Hop culture remains conscious and concerned with the plight of the underclass the world across. With the spread of Internet access across the planet, that underclass has realized that they hold common cause with each other, no matter their country or origin or color. A global political consciousness is a precursor to a global spiritual consciousness as people become aware that politics is only the outermost layer of an affliction that goes much deeper. The speculative aspects of the Afro-future arise in this space created by infinite potentiality as artists meld their conceptions of the present with ideas about what could be, in a perfect world. The addition of both New Age and Afrocentric spiritual ideals, as well as the culmination of the Age centered around the 2012 fulcrum combine to create a discourse ofextraordinary exceptionalism that surpasses nation-hood and represents an elevated sense of connection, of oneness, of common cause.

There is a revolution of the spirit as well as the body that is overcoming the dictates of materiality, of modernism and the consumer culture. While there are many causative factors that have contributed to this awakening, the impact of African-related innovations and movements in the West have been strongly felt. From the Haitian revolution and the victories of TouissantLOuverture, to Nat Turner, the Civil War and the Civil Rights movement, there is a connection. From Jazz to Country to New Age genres, there is a connection. From Fats Domino, Little Richard and other African-Americans impact upon the evolution of Rock and Roll to the evolution of electronic and computer-based music and art forms, there is a connection. This connection is the expression of the Souls of Black Folk, the visceral nature of their interactions with the world, the spirit-filled mass consciousness that resists all attempts at suppression, repression and genocide. It is, in microcosm, representative of the human spirit in macrocosm, it is what happens when a group of people is put upon for centuries at a time and their desire for utter freedom grows beyond the capacity of any seeking control over them to contain. It is when expression becomes mandatory, wherenot even death is threat enough to maintain silence, that the extraordinary becomes mundane and wonder fills the world to overflowing on a daily basis.

Of course, the formulation of the present moment is a collective endeavor that all streams of humanity have contributed to, that, in fact, every person who has ever lived has, in their own way, helped to create. Consciousness is a condition of awareness and each individual becomes aware of the realities outside of his or her own chosen spotlight for different reasons. But itcannot be denied that the world as it is today is the result of vast inequalities that have been fomented over generations. Inequalities that have resulted in the deaths of untold millions, the servitude of untold millions more and the domination of the world by a small, inbred and greedy elite. The atrocities that have come to predominate the historical record of these latter centuries of the Age of Pisces perhaps have no equal in the known history of humanity upon this planet. The world as it is today, with all of its pain, heartache and vast inequalities, is also a beautiful place, where the seeds of Africans brought to the Americas, mixed with the Aboriginals and Enslavers both, have broken ground, tilling the field of hearts the world across, as what has been done becomes clear and the ramifications of karmic repayment attend that clarification. Hip Hop and the Afro-future stand intertwined in the Present as an indicator of Past and Future, one indistinguishable from the other according to the infinite realm of probability that leaves conceptualization boundless and free to be, to become whatever we wish it to be. This is the legacy of our ancestors, and that which we leave to our posterity in our turn. The gift of life and love despite pain and heartache, and of expression ,without apology, of who we are, were and will be,far beyond what those who think they control reality could ever conceive of.

By Rahkyt/Mark Rockeymoore

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AFROFUTURISM

Futurism – Wikipedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasised speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified modernity and aimed to liberate Italy from the weight of its past.[1] Cubism contributed to the formation of Italian Futurism’s artistic style.[2] Important Futurist works included Marinetti’s Manifesto of Futurism, Boccioni’s sculpture Unique Forms of Continuity in Space, Balla’s painting Abstract Speed + Sound, and Russolo’s The Art of Noises.

Although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even cooking. To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism.

Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti.[1] Marinetti launched the movement in his Manifesto of Futurism,[3] which he published for the first time on 5 February 1909 in La gazzetta dell’Emilia, an article then reproduced in the French daily newspaper Le Figaro on Saturday 20 February 1909.[4][5][6] He was soon joined by the painters Umberto Boccioni, Carlo Carr, Giacomo Balla, Gino Severini and the composer Luigi Russolo. Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. “We want no part of it, the past”, he wrote, “we the young and strong Futurists!” The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, “however daring, however violent”, bore proudly “the smear of madness”, dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.

Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, religion, clothing and cooking.[7]

The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting (1914).[8] This committed them to a “universal dynamism”, which was to be directly represented in painting. Objects in reality were not separate from one another or from their surroundings: “The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motionless and they change places. … The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it.”[9]

The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art.[10] Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.

They often painted modern urban scenes. Carr’s Funeral of the Anarchist Galli (191011) is a large canvas representing events that the artist had himself been involved in, in 1904. The action of a police attack and riot is rendered energetically with diagonals and broken planes. His Leaving the Theatre (191011) uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights.

Boccioni’s The City Rises (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His States of Mind, in three large panels, The Farewell, Those who Go, and Those Who Stay, “made his first great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual’s complex experience of the modern world together in what has been described as one of the ‘minor masterpieces’ of early twentieth century painting.”[11] The work attempts to convey feelings and sensations experienced in time, using new means of expression, including “lines of force”, which were intended to convey the directional tendencies of objects through space, “simultaneity”, which combined memories, present impressions and anticipation of future events, and “emotional ambience” in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.[11]

Boccioni’s intentions in art were strongly influenced by the ideas of Bergson, including the idea of intuition, which Bergson defined as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, Pittura scultura Futuriste: Dinamismo plastico (Futurist Painting Sculpture: Plastic Dynamism) (1914).[12]

Balla’s Dynamism of a Dog on a Leash (1912) exemplifies the Futurists’ insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leashand the feet of the woman walking ithave been multiplied to a blur of movement. It illustrates the precepts of the Technical Manifesto of Futurist Painting that, “On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular.”[9] His Rhythm of the Bow (1912) similarly depicts the movements of a violinist’s hand and instrument, rendered in rapid strokes within a triangular frame.

The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. Although there were Futurist portraits (e.g. Carr’s Woman with Absinthe (1911), Severini’s Self-Portrait (1912), and Boccioni’s Matter (1912)), it was the urban scene and vehicles in motion that typified Futurist paintinge.g. Boccioni’s The Street Enters the House (1911), Severini’s Dynamic Hieroglyph of the Bal Tabarin (1912), and Russolo’s Automobile at Speed (1913)

In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In Unique Forms of Continuity in Space (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of “dynamism”. The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in Synthesis of Human Dynamism (1912), Speeding Muscles (1913) and Spiral Expansion of Speeding Muscles (1913). His ideas on sculpture were published in the Technical Manifesto of Futurist Sculpture[13] In 1915 Balla also turned to sculpture making abstract “reconstructions”, which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that “the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth … I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc.”[14]

In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carr, Ardengo Soffici (18791964) and Giovanni Papini (18811956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish “an immobile church with an infallible creed”, and each group dismissed the other as passiste.

Futurism had from the outset admired violence and was intensely patriotic. The Futurist Manifesto had declared, “We will glorify warthe world’s only hygienemilitarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.”[6][15] Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913.[14] Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted.[16] The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda.[17] The combat experience also influenced Futurist music.[18]

The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. War, Armored Train, and Red Cross Train), but in Paris turned towards Cubism and post-war was associated with the Return to Order.

After the war, Marinetti revived the movement. This revival was called il secondo Futurismo (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: “Plastic Dynamism” for the first decade, “Mechanical Art” for the 1920s, “Aeroaesthetics” for the 1930s.

Russian Futurism was a movement of literature and the visual arts. The poet Vladimir Mayakovsky was a prominent member of the movement. Visual artists such as David Burlyuk, Mikhail Larionov, Natalia Goncharova and Kazimir Malevich found inspiration in the imagery of Futurist writings and were poets themselves. It has also a larger impact on the all suprematism movement. Other poets adopting Futurism included Velimir Khlebnikov and Aleksey Kruchenykh. Poets and painters collaborated on theatre production such as the Futurist opera Victory Over the Sun, with texts by Kruchenykh and sets by Malevich.

The main style of painting was Cubo-Futurism, adopted in 1913 when Aristarkh Lentulov returned from Paris and exhibited his paintings in Moscow. Cubo-Futurism combines the forms of Cubism with the representation of movement. Like their Italian predecessors the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.

The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be “heaved overboard from the steamship of modernity”. They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, obstructing him when he came to Russia to proselytize in 1914.

The movement began to decline after the revolution of 1917. Some Futurists died, others emigrated. Mayakovsky and Malevich became part of the Soviet establishment and the Agitprop movement of the 1920s. Others were persecuted. Mayakovsky committed suicide on April 14, 1930.

The Futurist architect Antonio Sant’Elia expressed his ideas of modernity in his drawings for La Citt Nuova (The New City) (19121914). This project was never built and Sant’Elia was killed in the First World War, but his ideas influenced later generations of architects and artists. The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant’Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.

Futurist architects were sometimes at odds with the Fascist state’s tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 19201940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento’s railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the Gruppo Toscano (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.

Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.

Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a Manifesto of Futurist Musicians in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the “sublime genius” of Wagner and saw some value in the work of other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an “absurd and anti-musical form”. The conservatories was said to encourage backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the “rickety and vulgar” operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella’s tastes. In the face of this mediocrity and conservatism, Pratella unfurled “the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice.”

Luigi Russolo (18851947) wrote The Art of Noises (1913),[19][20] an influential text in 20th-century musical aesthetics. Russolo used instruments he called intonarumori, which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in 1914. However they were prevented from performing in many major European cities by the outbreak of war.

Futurism was one of several 20th-century movements in art music that paid homage to, included or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition.[21] Russolo’s intonarumori influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varse,[11] Stockhausen and John Cage. In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev’s The Steel Step and in his Second Symphony.

Most notable in this respect, however, is the American George Antheil. His fascination with machinery is evident in his Airplane Sonata, Death of the Machines, and the 30-minute Ballet Mcanique. The Ballet Mcanique was originally intended to accompany an experimental film by Fernand Lger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two “live pianists”, and sixteen synchronized player pianos. Antheil’s piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play.

Other composers offered more melodic variants of Futurist music, notably Franco Casavola, who was active with the movement at the invitation of Marinetti between 1924 and 1927, and Arthur-Vincent Louri, the first Russian Futurist musician, and a signatory of the St Petersburg Futurist Manifesto in 1914. His five Synthses offer a form of dodecaphony, while Formes en l’air was dedicated to Picasso and is a Cubo-Futurist concept. Born in Ukraine and raised in New York, Leo Ornstein gave his first recital of ‘Futurist Music’ at the Steinway Hall in London on 27 March 1914. According to the Daily Sketch newspaper “one listened with considerable distress. Nothing so horrible as Mr Ornstein’s music has been heard so far. Sufferers from complete deafness should attend the next recital.”

The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man’s ultimate fusion with the machine. The altitude of a flying plane, the power of a car’s motor and the roaring loud sounds of complex machinery were all signs of man’s intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian Giannina Censi[it]. Trained as a classical ballerina, she is known for her “Aerodanze” and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she explains: ” I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;… I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled,… And the face had to express what the pilot felt.”[22][23]

Futurism as a literary movement made its official debut with F.T. Marinetti’s Manifesto of Futurism (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominate medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry parole in libert (word autonomy) in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.

Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques.There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin (Zig Zag, Il Romanzo Futurista edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as ‘parole in libert’. Arnaldo Ginna’s ‘Le locomotive con le calze'(Trains with socks on)plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in Sam Dunn morto (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called ‘Synthetic’ characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony.

When interviewed about her favorite film of all times,[24] famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film Mnilmontant “developed a technique that suggests the movement known in painting as Futurism”.[25]

Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party (Partito Politico Futurista) in early 1918, which was absorbed into Benito Mussolini’s Fasci di combattimento in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism’s later exaltation of existing institutions, calling them “reactionary”, and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists’ association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.

Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, “I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view.”[26] Mussolini’s mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of “degenerate art” from Germany to Italy and condemned Futurism.

Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.

Although Futurism mostly became identified with Fascism, it had leftist and anti-Fascist supporters. They tended to oppose Marinetti’s artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939.[27] This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.

Futurism expanded to encompass many artistic domains and ultimately included painting, sculpture, ceramics, graphic design, industrial design, interior design, theatre design, textiles, drama, literature, music and architecture.

Aeropainting (aeropittura) was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters,[28] offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes,[29] portraits of Mussolini (e.g. Dottori’s Portrait of il Duce), devotional religious paintings, decorative art, and pictures of planes.

Aeropainting was launched in a manifesto of 1929, Perspectives of Flight, signed by Benedetta, Depero, Dottori, Filla, Marinetti, Prampolini, Somenzi and Tato (Guglielmo Sansoni). The artists stated that “The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective” and that “Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything.” Crispolti identifies three main “positions” in aeropainting: “a vision of cosmic projection, at its most typical in Prampolini’s ‘cosmic idealism’ …; a ‘reverie’ of aerial fantasies sometimes verging on fairy-tale (for example in Dottori …); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi).”[30]

Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero, Enrico Prampolini, Gerardo Dottori and Crali. Crali continued to produce aeropittura up until the 1980s.

Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism.[31][32] Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.

Nonetheless, the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant’Elia in Blade Runner. Echoes of Marinetti’s thought, especially his “dreamt-of metallization of the human body”, are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the Tetsuo (lit. “Ironman”) films. Futurism has produced several reactions, including the literary genre of cyberpunkin which technology was often treated with a critical eyewhilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals. and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.[33][34]

A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism’s focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.[35]

Futurist ideas have been discerned in Western dance music since the 1980s.[36]

Japanese Composer Ryuichi Sakamoto’s 1986 album ‘Futurista’ was inspired by the movement. It features a speech from Tommaso Marinetti in the track ‘Variety Show’.[37]

In 2009, Italian director Marco Bellocchio included Futurist art in his feature film Vincere.[38]

In 2014, the Solomon R. Guggenheim Museum featured the exhibition “Italian Futurism, 19091944: Reconstructing the Universe”.[39] This was the first comprehensive overview of Italian Futurism to be presented in the United States.[40]

Estorick Collection of Modern Italian Art is a museum in London with a collection centered around Italian futurist artists and their paintings.

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir dune nuit. Published in Les Annales politiques et littraires, 1 December 1912

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, Lautobus. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste, 14 March 1920

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, LHomme au balcon; Severini, 191213, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 191112, La Rvolte. Published in Les Annales politiques et littraires, Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920

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Futurism – Wikipedia

Futurism | Define Futurism at Dictionary.com

(sometimes initial capital letter) a style of the fine arts developed originally by a group of Italian artists about 1910 in which forms derived chiefly from cubism were used to represent rapid movement and dynamic motion.

(often initial capital letter) a style of art, literature, music, etc., and a theory of art and life in which violence, power, speed, mechanization or machines, and hostility to the past or to traditional forms of expression were advocated or portrayed.

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Futurism | Define Futurism at Dictionary.com

FUTURISM – YouTube

FUTURISM Presents // Beave’s Birthday Mix // Deep & Future HouseTo celebrate his birthday, Beave has put together an incredible mix for us featuring his favourite releases + some unreleased exclusives!

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Follow Beavehttps://soundcloud.com/beave97https://instagram.com/beave.97https://open.spotify.com/ar……

Tracklist1: Beave – So Much Better (UNRELEASED)2: Beave – ON1Y3: Beave & Thompson – Day & Night ft. Bethany Lamb4: Beave – FISHKILL5: Beave – ID (UNRELEASED)6: Black Irish – Mars (Beave Remix) (UNRELEASED)7: Sage English- Soundclout (Beave Remix) (UNRELEASED)8: Beave – ID9: Corey Atony x Beave – The Most (UNRELEASED)10: Corey Atony & Charlie Sanderson – No Drama (Beave Remix)11: Beave – DR1NK ft. WillG12: Joe Pizzella – Strip (Beave Remix) (UNRELEASED)13: Beave – Pax Amini14: Chem Coa$t – $TACK (prod. Beave) (UNRELEASED)

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FUTURISM – YouTube

Futurism: Manifestos and Other Resources

Futurism: Manifestos and Other Resources

Futurism was an international art movement founded in Italy in 1909. It was(and is) a refreshing contrast to the weepy sentimentalism of Romanticism. TheFuturists loved speed, noise, machines, pollution, and cities; they embracedthe exciting new world that was then upon them rather than hypocriticallyenjoying the modern worlds comforts while loudly denouncing the forces that made them possible. Fearing and attacking technology has become almost secondnature to many people today; the Futurist manifestos show us an alternativephilosophy.

Too bad they were all Fascists.

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Futurism: Manifestos and Other Resources

Quantum State Control Process Could Speed Up Computers and Energy Transfers

Quantum circuits could make use of transmon devices to speed up processes and allow for more precise control.

Balancing Act

Generally speaking, every task is a balance between speed and accuracy.

You can complete a task quickly at the potential cost of accuracy, or accurately at the potential cost of speed. This is one of the challenges researches studying quantum computing are facing. Harnessing quantum phenomenon to build quantum computers is tricky because tracking and controlling quantum systems in real-time is an extremely delicate task. Trying to manipulate such systems quickly can easily produce errors in the end result. Now, a team of researchers from Aalto University has developed specialize circuitry for handling this task both quickly and carefully. The results of their work were published in the journal Science Advances.

Terrific Transmon

In order to achieve this quantum balancing act, the team used a custom-designed electrical circuit called a transmon. When such a circuit is chilled to within a few thousandths of a degree above absolute zero it begins to behave like an artificial atom and exhibits unusual quantum characteristics. One such characteristic means the transmon can only have certain values of energy.

The researchers describe these “energy levels” like rungs on a ladder. You can only stand on one rung at a time and move either one up or one down. Now imagine you’re trying to carry a glass of water too. Suddenly the process is much more delicate, you would need to move slower to not spill the water. By firing two different microwave protons at the transmon simultaneously the researchers found they could make it jump more than one rung, without spilling water. In other words, the transmon exhibited a jump in energy levels previously thought impossible at a speed near the theoretical maximum.

Breakdown the Buzz

Ladders? Energy levels? We get it, there’s a lot going on here. Essentially, the ability to more precisely  control high-speed energy transfers is a promising breakthrough. Not only could the finding have many uses in the development of quantum computing and quantum simulations there may be other technical applications as well.

The speed of the energy transfer begs new questions, such as, are there fundamental limits to how fast we can charge the battery of an electric car? A future filled with rapidly charging devices sure would be nice. The new research means not only will the future be fast, it will be precise as well.

READ MORE: Life on the edge in the quantum world [EurekAlert]

More on Quantum Computing: Scientists Are Building a Quantum Computer That “Acts Like a Brain”

The post Quantum State Control Process Could Speed Up Computers and Energy Transfers appeared first on Futurism.

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Quantum State Control Process Could Speed Up Computers and Energy Transfers

Mars One Planned to Colonize the Red Planet. Now It’s Bankrupt.

Mars One, the startup that said it was going to fund a crewed mission to Mars by turning the journey into a reality television spectacle, is bankrupt.

Mars None

Remember Mars One, the startup that said it was going to fund a crewed mission to Mars by turning the journey into a reality television spectacle? Now the company is bankrupt, according to financial documents published online.

Engadget confirmed the bankruptcy with Mars One Cofounder Bas Lansdorp, who toldthe publication that he was working “to find a solution” to the company’s financial woes — but things don’t sound hopeful for the would-be Mars colonist startup.

Broke  Planet

The news was first unveiled on Reddit, where a user posted a link to Swiss financial documents suggesting that the company was set to be liquidated.

To be technical, Mars One comprised two arms — the for-profit Mars One Ventures and the non-profit Mars One Foundation — and it’s the for-profit part that’s out of cash, according to the documents. But Lansdorp told Engadget that the non-profit portion of the project wasn’t able to act without further funding.

Still Searching

Back in 2012, Lansdortp and his associates announced a ludicrously ambitious plan to send colonists to the Red Planet — and to fund the project with a reality TV show about the selection process and on-Earth test colony, with the help of “Big Brother” producer Paul Römer.

Though the dream might be dead, it lives on at press time in the form of optimistic copy on the project’s website.

“Mars One aims to establish a permanent human settlement on Mars,” it reads. “Several unmanned missions will be completed, establishing a habitable settlement before carefully selected and trained crews will depart to Mars. Funding and implementing this plan will not be easy, it will be hard.”

READ MORE: Mars One Is Dead [Engadget]

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Mars One Planned to Colonize the Red Planet. Now It’s Bankrupt.


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