This “Flying Sports Car” Is Like a Giant Drone You Can Ride In

This week, Philippine inventor Kyxz Mendiola took his Koncepto Milenya, a flying sports car prototype, out for its first public test flight.

PRETTY FLY

The founding member of an award-winning hip-hop dance troupe hangs up his sneakers to engineer a flying sports car. Tale as old as time, right?

Yeah, not exactly. But it’s the path former dancer Kyxz Mendiola has carved out for himself.

Six years ago, Mendiola decided he was sick of dealing with traffic, so he did what anyone in a similar situation would: started digging tunnels building a flying car.

He calls the craft, which looks a lot like a giant remote controlled drone, the “Koncepto Millenya.” On Sunday he took it out for its first public test flight in the Philippine province of Batangas. It lasted about 10 minutes.

“It was amazing,” the Filipino inventor told Reuters. “All the hard work paid off. Everything worked perfect.”

THE SPECS`

Koncepto Milenya seats just one person weighing up to 100 kilograms (220 pounds). Its six lithium-ion batteries power 16 rotary motors, which allow the craft to reach a height of 6.1 meters (20 feet) and a top speed of 60 kph (37 mph).

According to Mendiola, who co-founded the Philippine All Stars hip-hop dance group in 2005, flying the craft is pretty simple.

“Press a button and it will go up, then push the stick forward, it goes forward,” he told Reuters. “It’s very smart, that’s why I’m saying it has a lot of potential.”

MASS PRODUCTION

Mendiola is working with Australian company Star8 to further develop the vehicle, with the goal of mass producing it. Star8’s CEO told Reuters he wants to market the flying sports car in Australia, Europe, and Hong Kong.

No word on when Koncepto Milenya might come to the U.S., so traffic-averse Americans will just have to hope Elon Musk’s tunneling scheme works out.

READ MORE: Philippine Inventor Aims to Cut Travel Times With Passenger Drone [Reuters]

More on flying cars: How Close Are We Really to Flying Cars?

The post This “Flying Sports Car” Is Like a Giant Drone You Can Ride In appeared first on Futurism.

The rest is here:

This “Flying Sports Car” Is Like a Giant Drone You Can Ride In

Everyone’s Genome Is Different. That’s Why Scientists Are About to Sequence a Million of Them.

A new NIH program aims to sequence the DNA of a million volunteers, to better understand genetic variation between people and develop new treatments.

RIPPED GENES

The first time scientists sequenced the entire human genome, it took 13 years and nearly $3 billion dollars.

It was an incredible accomplishment. But now a program called All of Us wants to blow it out of the water by sequencing the DNA of a million volunteers. One goal is to better understand variation between different people’s DNA. Another is to develop better tailored treatments — presumably ones with a genetic component, like Parkinson’s or certain cancers.

“Diversity is a hallmark of this effort,” said Eric Dishman, the director of the program, in a press release. “We strive for diversity of people and also diversity of data types, so researchers can understand the many factors that influence health and health outcomes for each of us.”

GENOME WIZ

Since the Human Genome Project wrapped up in 2003, it’s become dramatically faster (and cheaper) to sequence a genome. If all goes according to plan, the All of Us program will sequence a huge swathe of the population. Then the program, which is part of the National Institutes of Health, will make that extraordinary trove of data available to researchers.

All of Us hasn’t said how long the project might take. But this week the NIH kicked off the project by awarding $28.6 million to genome centers at Baylor College, the Broad Institute and the University of Washington, which will carry out the sequencing work.

REAL TREATMENTS

The three centers will sequence the DNA of volunteers from all over the country. About 110,000 have registered so far, according to the NIH. Along with genetic material they’ll provide access to their health records, fluid samples and fitness tracker data so that researchers can look for relationships between their DNA and health.

All that data will doubtless lead to a better understanding of humans’ genetic code. But the NIH also hopes it will lead to new breakthroughs in treatments and preventative medicine.

READ MORE: NIH-funded genome centers to accelerate precision medicine discoveries [National Institutes of Health]

More on genetic sequencing: 15 Years Ago, We Sequenced the Human Genome. Now We Can 3D Map It.

The post Everyone’s Genome Is Different. That’s Why Scientists Are About to Sequence a Million of Them. appeared first on Futurism.

Continue reading here:

Everyone’s Genome Is Different. That’s Why Scientists Are About to Sequence a Million of Them.

SpaceX Will Send Another Company’s Robots to the Moon in 2021

Japanese space exploration company ispace is teaming up with SpaceX on two lunar missions, one in mid-2020 and the other in mid-2021.

MOONSHOT

This year, Google’s Lunar XPRIZE (GLXP) competition ended without a winner. None of the private companies involved in the challenge were able to make it to the Moon before the March deadline.

But one of those companies, called ispace, isn’t ready to give up on its lunar ambitions just yet. It’s now working with SpaceX, Elon Musk’s space exploration company, to deliver a pair of robotic rovers to the Moon’s surface in 2021.

DOUBLE DATE

ispace is a Japanese lunar exploration company that managed Team HAKUTO, one of the final five competitors in the GLXP. Its goal, like its competitors, was simply to get a rover on the Moon. Now, it’s hoping scientists (or anyone who wants to) will pay to use the lander and rovers it developed for the competition.

On Wednesday, ispace announced that it had selected SpaceX to transport its Lunar Lander and Lunar Rovers to the Moon. According to the plan, SpaceX will use a Falcon 9 rocket to place ispace’s Lunar Lander in the Moon’s orbit in mid-2020. Then in mid-2021, a lander will gently deliver the Lunar Rovers to the Moon’s surface.

GREEN MOON

While Team HAKUTO may have missed out on the $30 million GLXP winnings, ispace has already raised more than $90 million. The goal of these missions is to demonstrate its ability to successfully navigate the Moon’s surface.

If successful, ispace could make even more money as the contractor of choice for anyone looking to explore the face of the Moon.

READ MORE: Lunar Exploration Startup, ispace, Partners With SpaceX for 2020 & 2021 Moon Missions [ispace]

More on Lunar XPRIZE: Google’s Lunar XPrize Is Over. Spaceflight Innovation, However, Is Not.

The post SpaceX Will Send Another Company’s Robots to the Moon in 2021 appeared first on Futurism.

See more here:

SpaceX Will Send Another Company’s Robots to the Moon in 2021

These Robots Weave Super Durable Fiberglass Structures So Humans Don’t Have To

MIT researchers have created Fiberbots, autonomous robots that can weave fiberglass into tall tubes that we could one day use for construction projects.

PROS AND CONS(TRUCTION)

Fiberglass is a double-edged sword. It’s an excellent building material because it’s strong and durable, plus it’s easy to mold into pretty much any shape. But fiberglass’ thin strands often cause skin irritation, vision issues, and breathing problems for humans that come into contact with it.

How can we take advantage of fiberglass’ excellent structural properties without putting human health at risk? Why, robots of course!

A team of researchers from MIT has invented a type of swarm robot builders they call Fiberbots that can weave sizable structures from the material, like robotic silkworms — no human contact necessary.

TUBULAR

The Fiberbots create fiberglass tubes around themselves, one layer at a time, climbing the inside of the tubes to create lengthy cylinders, according to a paper published Wednesday in the journal Science Robotics. Tubes spun by several Fiberbots could create structures as large as bridges or buildings.

First, one of the bots combines fiberglass thread with resin, which it then winds around an inflated membrane surrounding its squat, cylindrical body. Once the Fiberbot completes a segment of tubing, it deflates the membrane and “climbs” the inside of the tube to start another segment, which overlaps the one that came before it. Layer by layer, it can curve the material, even fitting it together with tubes built by other Fiberbots.

STANDING TALL

To put their system to the test, the MIT researchers directed the Fiberbots to build a series of 22 tubes stretching as high as 4.5 meters (14.7 feet), which took about 12 hours. The tubes stayed intact for seven months, withstanding the harsh conditions of a Massachusetts winter.

We already use fiberglass for things like bridges, house insulation, and many different products. But in truth, that could be only the beginning. We could one day use Fiberbots to create the tubes we need for construction projects without requiring human workers to handle the material, the researchers write.

The bots could even build their structures in harsh or dangerous environments that humans simply shouldn’t or can’t access — including other planets.

READ MORE: Design of a Multi-Agent, Fiber Composite Digital Fabrication System [Science Robotics]

More on construction bots: This Three Story Home Was Built by Robots

The post These Robots Weave Super Durable Fiberglass Structures So Humans Don’t Have To appeared first on Futurism.

alt : https://futurism.com/wp-content/uploads/2018/09/kaysermovie3-1.mp4https://futurism.com/wp-content/uploads/2018/09/kaysermovie3-1.mp4

The rest is here:

These Robots Weave Super Durable Fiberglass Structures So Humans Don’t Have To

Astronomers Discover a New Source of Spectacular Radio Jets

For the first time ever, researchers have discovered radio jets launching from a neutron star with a strong magnetic field.

JET SETTER

In a ranking of cool space phenomenon, radio jets have to take a spot near the top. They’re near-light-speed blasts of material from black holes or neutron stars, which are known as “stellar corpses” because they are the remnants of stars left after they’ve gone supernova, and they’re downright spectacular.

Scientists thought the only neutron stars that could expel radio jets were those with very weak magnetic fields. But a new discovery has punched a big hole in that understanding.

They just figured out that a jet-spewing neutron star called Swift J0243.6+6124 has got a really, really strong magnetic field, according to a paper published Wednesday in Nature.

THE FORCE IS STRONG

The University of Amsterdam-led research team discovered the phenomenon using the Karl G. Jansky Very Large Array radio telescope and NASA’s Swift space telescope.

“The magnetic field of the neutron star we studied is about 10 trillion times stronger than that of our own Sun, so for the first time ever, we have observed a jet coming from a neutron star with a very strong magnetic field,” lead researchers Jakob van den Eijnden said in a press release. “The discovery reveals a whole new class of jet-producing sources for us to study.”

ENERGY IN, ENERGY OUT

As co-author James Miller-Jones added, radio jets play a major role in the transfer of gravitational energy from black holes and neutron stars back into the surrounding environment, so anything that expands our understanding of the phenomenon subsequently improves our understanding of the universe as a whole.

And now, thanks to this study, we can start hunting down radio jets in places we never thought to look.

READ MORENeutron Star Jets Shoot Down Theory [EurekAlert]

More on radio jets: Researchers Discover “Bizarre” Black Holes That Are All Aligned

The post Astronomers Discover a New Source of Spectacular Radio Jets appeared first on Futurism.

Read more:

Astronomers Discover a New Source of Spectacular Radio Jets

If We Want Drone Delivery to Be a Reality, We’ve Gotta Keep It Simple

DRONING ON

In 2013, we learned about Amazon’s splashy plans to drop packages off at customers’ homes using drones. Sure, there have been a few pilot drone deliveries, but for the most part, even Amazon hasn’t made that future a reality yet.

But in Iceland, a startup called Aha has been using drones to deliver hot food and other goods for five months. Its secret: keeping the system very, very simple.

As we creep towards a future in which drone delivery is commonplace, Aha’s success shows that a simple approach might work best — and that maybe tech giants like Amazon are over-engineering the concept.

BARE BONES

Aha’s delivery drones have no cameras or radar, IEEE Spectrum reports. In fact, they navigate the Reykjavik area using only GPS, which keeps them on pre-determined routes selected because they’re free of trees and other obstacles. When they arrive at a customer’s home, the drones lower deliveries — burgers are popular, but the company also sells electronics — on a line.

That stands in contrast to Amazon’s high-tech approach. In 2014, the company filed documents with the FAA claiming that its delivery drones sport “sense-and-avoid sensors.” A patent the company filed earlier this year describes a system that lets its drones respond to voice commands, and another patent from last year explains a beehive-like structure where drones can roost and collect new items for delivery.

AIN’T BROKE

In this case, the simple approach seems to be winning. Aha says it’s made 500 drone deliveries over the past five months, with no injuries. A delivery costs the equivalent of a modest US $7.

But don’t count Amazon out yet. The company is still pouring resources into its nascent drone program. Maybe it just needs to focus on a simpler set of features.

READ MORE: Are Delivery Drones Commercially Viable? Iceland Is About to Find Out [Spectrum IEEE]

More on drone delivery: Are Delivery Drones Actually Better for the Environment?

The post If We Want Drone Delivery to Be a Reality, We’ve Gotta Keep It Simple appeared first on Futurism.

View post:

If We Want Drone Delivery to Be a Reality, We’ve Gotta Keep It Simple

Scientists Need to Solve These Two Mysteries to Find Life on Mars

An international team of scientists just announced their strategy for trying to figure out whether Mars can support life.

Back in June, NASA revealed two mind-blowing facts: that there is organic matter on Mars, and that levels of methane in the planet’s atmosphere ebb and flow over time. It’s pretty exciting news that shook our understanding of astrobiology. And while this isn’t necessarily proof that aliens are out there, much of our terrestrial methane was produced by living things. And as any child can tell you, if you smelled it, someone must have dealt it.

The recent methane findings “confront us with robust data that demand interpretation,” a team of international scientists wrote in a study published last week in Astrobiology. The study authors have done just that — they sorted out what measurements, experiments, and missions NASA and other space organizations should prioritize as they seek more evidence that Mars does (or did) support life.

In short, the scientists want to study Mars’ geological activity. They want to understand the relationship between these newly discovered organic compounds and the fluctuating methane in the atmosphere. Their goal is to find traces of other molecules and gases that might make it possible for some primitive, microscopic life forms to survive beneath the planet’s surface. Here’s what exactly they’re looking for.

One: Redox Gradient

When we eat, our bodies pull energy out of our food through chemical reactions that create a back and forth flow of electrons and oxygen atoms between molecules. This back and forth is necessary for fueling our bodies — all living things do it. But because of Mars’ extreme atmosphere, this balance doesn’t exist. The atmosphere is so strongly oxidizing that these reactions would only happen in one direction. Any living thing on Mars would be reacting so strongly with the air that it wouldn’t be able to survive. The researchers are looking for components in the Martian atmosphere that would balance out that reaction, which would make life possible.

Two: Source of the Methane

The next step towards understanding whether Mars could have ever hosted life, the researchers suggest, is to dig beneath the surface of Mars in order to figure out where all this methane is coming from. While living things on Earth produce methane as they digest food, that’s not the only way the gas could emerge in an atmosphere. NASA’s upcoming InSight mission will probe beneath the surface of Mars. It’s primarily geared towards learning about seismic activity, but who knows what it might discover along the way.

Our best guess for why Mars’ methane levels fluctuate? The seasonal freezing and thawing of ice, which traps and releases methane over time (we know this from data from the Curiosity rove). But there’s no easy way to tell how long that methane has been there or whether more is being generated. And that means finding the source of Martian methane is more complex than pulling the finger of a little green alien.

By examining the chemical composition of subterranean samples and taking more atmospheric measurements, scientists would be able to learn whether this methane came from biological processes or complex chemical reactions that don’t involve life at all.

The researchers behind this plan aren’t suggesting it because there’s super compelling evidence that Mars supports life. In fact, as astrobiologist Caleb Scharf once asserted, it is far more reasonable to assume that it does not exist anywhere other than Earth. After all, that’s the only place we know for sure has got it.

But if, by some fantastic chance, there are some microbes hiding under the planet’s surface, or if there used to be some form of life on Mars, the study authors’ strategy likely represents our best chance at finding it.

More on major Mars findings: There’s A Huge Subterranean Lake of Liquid Water on Mars

The post Scientists Need to Solve These Two Mysteries to Find Life on Mars appeared first on Futurism.

Link:

Scientists Need to Solve These Two Mysteries to Find Life on Mars

Glimpse: How An Army of Resurrected Mammoths Could Curb Global Warming

It’s 12,000 B.C. Modern humans are starting to migrate to the Americas for the first time. We won’t discover farming for another 2,000 years. We won’t build cities for another 9,000 years. As a species, our story is just beginning. In Siberia, another’s is coming to an end.

The mammoth steppe, one of the world’s most expansive ecosystems, is on the brink of collapse. For millennia, these arctic grasslands have played host to a variety of enormous plant-eating mammals, most notably the wooly mammoth. As a keystone species, the mammoths had long ensured environmental harmony. They kept the trees from multiplying, which allowed grass to grow in its place, sustaining all of the animals in the steppe.

But then, around 12,000 B.C., that changed. Rising global temperatures (a product of a receding ice age) and human activity rapidly drove down the populations of mammoths, triggering a domino effect that transformed the Siberian landscape. Trees, bushes, and shrubs proliferated in the mammoths’ absence, choking out the grasses that once sustained life there. As a result, the permafrost slowly began to thaw, releasing potent greenhouse gases that sped up global warming.

Now, 14,000 years later, scientists are faced with record-breaking global temperatures of humans’ own doing. And they’re realizing how valuable that ice age ecosystem was, and that we may be able to bring it back.

This possibility is explored in Sebastian Moller, the third episode of Glimpse, a new original sci-fi series from Futurism Studios (a division of Futurism LLC) and DUST. Watch the episode below.

Famed geneticist George Church has made bringing back the ice age ecosystem his mission. In 2015, he and a team Harvard researchers successfully spliced the DNA of a wooly mammoth into the genome of its closest living relative, the Asian Elephant. They chose 14 of the mammoth’s most recognizable genes for the experiment, activating them for the first time since their extinction. It was a watershed moment — scientists finally had all the tools they needed to bring an extinct animal back from the dead.

That’s the good news. The bad news, as Church well knows, is that bringing one mammoth back isn’t the same as bringing the species back. To restore the mammoth steppe to its Pleistocene glory, he estimates that we’ll need 80,000 mammoths. At least.

Making pretty much anything in such high numbers is daunting. But an enormous, extinct organism? Even harder. Genetic engineering isn’t exactly known for its ability to scale.

Current de-extinction proposals rely on surrogate mothers from living species to bear the resurrected organisms. The shorter the evolutionary distance — that is, the number of genetic differences — between the extinct species and the surrogate species, the better. That makes the Asian Elephant a perfect candidate to carry mammoth babies — there are only 44 differences between them. Unfortunately, the elephants are also endangered.

Copyright Dust/Futurism, 2018

“If we want to have 80,000 wooly mammoths or cold-resistant elephants that satisfy the wooly mammoth range at once, there aren’t enough mothers that you have access to, even it all relevant governments say, ‘This is a good thing.’” George explained in a recent interview on the After On podcast with Rob Reid.

He estimates there are only about 17,000 Asian Elephant females in prime reproductive health left on earth. That’s barely enough to keep their own species going, especially since the species reproduces slowly (it takes 22 months of gestation for a baby elephant to be born). Using them to bring an extinct species back? A tough sell. African Elephants could be used, too, but you’ll eventually run into the same problem.

The only viable solution, Church posits, is “full development outside the body with adequate blood supply and nutrients.” He’s talking about growing baby mammoths in artificial wombs. No scientist has ever accomplished that for a species that gives birth to live young (that is, not in an egg). But Church and his team are already making a lot of progress with mice, and plan to release the results of those studies this year.

“We’re getting better at turning stem cells into embryo-like structures. We’re getting better at turning embryos into support structures that are vascularized. Mice can implant into that,” he told Reid.  “Once that’s working well for mice, we’ll try moving into larger animals.” Church believes the first success for a mammoth will happen within a decade.

Even if he has all the organisms and technology he needs to accomplish his mission, Church will still run into opposition from ethicists. They’ll argue, among other things, that we should focus our limited resources on protecting species we still have with us. But Church and others like him believe the rewards of such a feat make it worth the struggle — and cost.

 

The post Glimpse: How An Army of Resurrected Mammoths Could Curb Global Warming appeared first on Futurism.

Original post:

Glimpse: How An Army of Resurrected Mammoths Could Curb Global Warming

Make Music A Full Body Experience With A “Vibro-Tactile” Suit

A high-tech suit vibrates to let users feel music — a new way for everyone to experience sound, according to its creators, but especially for deaf people.

SYNESTHETES

Tired: Listening to music.
Wired: Feeling the music.

A mind-bending new suit straps onto your torso, ankles and wrists, then uses actuators to translate audio into vivid vibration. The result: a new way for everyone to experience music, according to its creators. That’s especially exciting for people who have trouble hearing.

THE FEELIES

The Music: Not Impossible suit was created by design firm Not Impossible Labs and electronics manufacturing company Avnet. The suit can create sensations to go with pre-recorded music, or a “Vibrotactile DJ” can adjust the sensations in real time during a live music event.”

Billboard writer Andy Hermann tried the suit out, and it sounds like a trip.

“Sure enough, a pulse timed to a kickdrum throbs into my ankles and up through my legs,” he wrote. “Gradually, [the DJ] brings in other elements: the tap of a woodblock in my wrists, a bass line massaging my lower back, a harp tickling a melody across my chest.”

MORE ACCESSIBLE

To show the suit off, Not Impossible and Avnet organized a performance this past weekend by the band Greta Van Fleet at the Life is Beautiful Festival in Las Vegas. The company allowed attendees to don the suits. Mandy Harvey, a deaf musician who stole the show on America’s Got Talent last year, talked about what the performance meant to her in a video Avnet posted to Facebook.

“It was an unbelievable experience to have an entire audience group who are all experiencing the same thing at the same time,” she said. “For being a deaf person, showing up at a concert, that never happens. You’re always excluded.”

READ MORE: Not Impossible Labs, Zappos Hope to Make Concerts More Accessible for the Deaf — and Cooler for Everyone [Billboard]

More on accessible design: New Tech Allows Deaf People To Sense Sounds

The post Make Music A Full Body Experience With A “Vibro-Tactile” Suit appeared first on Futurism.

See the rest here:

Make Music A Full Body Experience With A “Vibro-Tactile” Suit

Should Coma Patients Live or Die? Machine Learning Will Help Decide.

A team of Chinese researchers has created software that can predict whether a coma patient will wake up or not. Can it replace human decision-making?

In some cases, all it takes is a major blow to the side of the head.

When somebody falls into a coma, they lose all motor functions. Brain activity slows significantly. In most cases, no external stimuli, like light or movement, can wake them up. It’s notoriously difficult to determine their future state — will they ever wake up again?

Chinese neurologists at the Academy of Sciences and the PLA General Hospital in Beijing are working hard to develop a tool that can help doctors assess exactly that. But they’ve got a technological advantage generations of doctors before them didn’t: machine learning. Algorithms like this one are part of a growing arsenal of data-driven tools that can help emotional family members and doctors make difficult decisions about a patient’s treatment, or help determine when it’s time to say goodbye.

The researchers fed fMRI (functional magnetic resonance imaging) data from thousands of coma patients into a machine learning algorithm. That helped them understand how likely a particular patient would be to recover.

As it turns out, the results are very promising: “We have successfully predicted a number of patients who regained consciousness after being initially determined to have no hope of recovery,” the researchers told the South China Morning Post.

The algorithm was 90 percent accurate, the researchers found. And they have already used the technique on more than 300 hundred patients from all over China. They hope the same technology could help more of the estimated 50,000 “patients with chronic disturbance of consciousness” in China.

Image Credit: Thomas Schultz/Victor Tangermann

The stakes may seem high, but coma patients may in fact be the ideal application for this kind of machine learning technology, says Pascal Kaufmann, neuroscientist and founder of Starmind, a Switzerland-based company working to develop artificial intelligence to help employees at big companies communicate with one another. In fact, machines are way better at analyzing this kind of complex biological data than humans are. “These machines are doing nothing other than what the human beings are doing. They are looking at the same data sets — they do exactly the same. However, they do it a million times faster and more reliably.”

The researchers in Beijing are not suggesting that machines should have the final word on deciding whether coma patients live or die. “When we informed the family of the AI score, we always told them it should only [affect] 20 to 50 percent in their decision,” Yang Yi, a doctor in the neurosurgery department at PLA General Hospital and researcher on the project tells the SCMP.

Kaufmann agrees — a computer system’s assessment should only matter if it determines that a coma patient shows promise after human doctors deemed it a lost cause — not the other way round. “When the human doctor says the patient will never wake up again, that would be a horrible scenario. That you actually let a patient die because of machine input — that should not be possible,” Kaufmann says. “I think you should only pay attention to the results if somebody can tell you there is hope.”

“I think you should only pay attention to the results if somebody can tell you there is hope.”

In fact, now that we have technology that could help better predict whether coma patients will wake up, Kaufmann says it could be dangerous to allow human doctors to sift through the data alone. It’s like self-driving cars — human drivers are far more prone to accidents than their autonomous counterparts. “It might be dangerous to leave the judgment of whether a person will wake up or not to the doctor because the error rate is much higher in human doctors than in machines,” Kaufmann says.

For now, though, this algorithm is only being used for coma patients. And that’s probably a good thing. Machines are actually better than doctors at evaluating the condition of a patient, says Kaufmann. But they don’t have the soft skills patients like to see from their doctors. “The problem is, when it comes to human interaction [with patients that are not in a coma], then of course the human doctors are much superior to machines, because you can evaluate behavior, smell, how they talk etc. — there are many factors that the machines are not good with coping with.”

Allowing a computer to influence the decision over a patient’s life or death feels like an episode of Black Mirror, but it might actually be a good thing. It’s quite likely machine learning algorithms will make their way into many more areas of healthcare — they might analyze crowdsourced medical data through high-tech wearables, or help a robotic surgeon operate on patients with little human input. With more data, they are bound to get even more accurate.

But a future where machines alone make that decision to pull the plug on a coma patient? We probably won’t be there for a while.

More on comas: New Electrical Brain Stimulation Could “Awaken” Comatose People

The post Should Coma Patients Live or Die? Machine Learning Will Help Decide. appeared first on Futurism.

Read more:

Should Coma Patients Live or Die? Machine Learning Will Help Decide.

Tread Lightly: This AI Can Identify You by Monitoring Your Footsteps

Researchers have created an AI that can identify a person with 92 percent accuracy after recording just seven consecutive footsteps.

ELEMENTARY

Teachers take attendance, students reply “here.” Some things never change. But what if that process got a tech upgrade? What if AI could tell which students were there based on the way they walked into the classroom?

Automating classroom attendance is just way we could use a new artificial intelligence that can identify a person simply by analyzing their footsteps. This unusual system is the work of researchers at Indian Institute of Technology, who published their study on the preprint server arXiv on Monday.

UNDER FOOT

The team needed a lot of data on footsteps to create their system. To collect it, they used a geophone, a device that converts ground movement into electrical signals. They asked eight volunteers to each walk barefooted in a circle with a geophone at the center, coming as close to the device as 1 meter (3.2 feet) and as far as 2.5 meters (8.2 feet) from it.

The researchers gathered about an hour of walking data for each individual. That added up to 46,489 footsteps, which they believe is the largest footstep database ever collected. Then they used the data to train an algorithm to differentiate between the steps of different participants by evaluating the time between steps, their length, and their rhythm.

In the end, the AI could identify a person with 92 percent accuracy after recording just seven consecutive footsteps. The researchers believe their system could eventually replace other biometric identification systems, such as fingerprint or retina scanners, as it is easily camouflaged and doesn’t require the cooperation of the person it’s analyzing.

WALK IT OFF

As for applications beyond the classroom, the researchers note that high-security areas, such as military bases, could use the system to detect anyone who isn’t in an approved footstep database. It could also prove useful in the smart homes of the future; for example, the AI could tell your home’s audio system to start playing a different radio station depending on the family member that walks into a room.

Of course, there are still kinks to work out — as it stands, the system can’t identify more than one person at a time, so it’d be useless in crowds. However, the researchers are already working to improve their device, so it might not be long before your footstep is all you need to prove your identity.

READ MORE: Researchers Train AI to Identify People From Their Footsteps [VentureBeat]

More on biometrics: A Top Manufacturer Is Taking a Chance on in-Display Fingerprint Sensors

The post Tread Lightly: This AI Can Identify You by Monitoring Your Footsteps appeared first on Futurism.

See more here:

Tread Lightly: This AI Can Identify You by Monitoring Your Footsteps

The Five Funniest Things about the SEC’s Lawsuit against Elon Musk

He’s been likened to Tony Stark. Hordes of bros on the internet swear that he’s going to save the world. Any critical press against his companies is written off as a conspiracy by the government and big oil.

That’s right folks, we’re talking Elon Musk. The latest news: on Thursday, the U.S. Securities and Exchange Commission (SEC) filed a lawsuit against Musk because of his ill-fated announcement to take Tesla private at $420 per share. The announcement wasn’t too much of a surprise — after all, the SEC had already launched formal inquiry into Tesla’s finances and subpoenaed the entire Tesla board (plus, the Justice Department launched a formal fraud investigation into the same).

But the government just came out guns blazing. And honestly the filing is pretty juicy for those who don’t mind slogging through a little legal and finance jargon.

Luckily, we’ve done that for you. Here are the highlights:

Musk is under investigation for fraud because he made a pot joke.

Musk’s Twitter announcement that he had secured funding to take Tesla private at $420 per share has now prompted two separate organizations of the federal government to investigate him and his finances. Musk ruined the weed number for everyone, so this seems like fitting punishment.

Musk told the SEC that Grimes taught him about pot.

That’s right, Musk claimed that, prior to the formation of Grusk, he had no idea why “420” was a funny number.

According to the SEC’s formal complaint over misleading statements, Musk “rounded the price up to $420 because he had recently learned about the number’s significance in marijuana culture and thought his girlfriend ‘would find it funny, which admittedly is not a great reason to pick a price.’”

This whole mess is all because Musk wouldn’t stop tweeting.

We’ve all lied on the internet, but flubbing your dating profile likely didn’t launch two federal investigations and cause your company’s stocks to crash multiple times over the following months. The entire basis of the SEC’s lawsuit is the misleading nature of Musk’s statements. Specifically, his incorrectly claimed that funding had been secured, and he knew it wasn’t true, according to the SEC.

As the filing asserts, “Musk’s false and misleading public statements and omissions caused significant confusion and disruption in the market for Tesla’s stock and resulting harm to investors.”

The SEC wrote in its complaint:

Musk knew or was reckless in not knowing that each of these statements was false and/or misleading because he did not have an adequate basis in fact for his assertions. When he made these statements, Musk knew that he had never discussed a going-private transaction at $420 per share with any potential funding source, had done nothing to investigate whether it would be possible for all current investors to remain with Tesla as a private company via a ‘special purpose fund,’ and had not confirmed support of Tesla’s investors for a potential going- private transaction. He also knew that he had not satisfied numerous additional contingencies, the resolution of which was highly uncertain, when he unequivocally declared, ‘Only reason why this is not certain is that it’s contingent on a shareholder vote.’

And also:

The July 31 meeting lacked discussion of even the most fundamental terms of a  proposed going-private transaction.

Musk hates short sellers but gave them yet another field day.

Short selling, or dumping stock in a company as it drops just to buy them back up once the price levels off (essentially turning a profit while obtaining an even larger share in the company), really gets on Musk’s nerves. And yet, each time another investigation launches or, you know, Musk accuses people of pedophilia, he’s handing those people Tesla stock on a silver platter. Tesla stock dropped several points when news of the SEC’s lawsuit broke, and once more short sellers got to work.

After claiming he could take Tesla private, Musk may be no longer be allowed to run any public company.

Part of the SEC’s filing includes an order that the defendant (that’s ol’ Musky) “be prohibited from acting as an officer or director” of any public company operating under U.S. law.

This ban may be reassuring to anyone who’s dealt with Musk in a professional setting. As the SEC wrote in its filing, “Musk did not consult with Tesla’s Board of Directors, any other Tesla employees, or any outside advisors about these tweets before publishing them.” Not exactly the most reliable CEO, as far as the board is concerned.

Everyone thought it was a joke. Turns out it may have been federal crime.

When Musk tweeted out the $420 price point, everyone (understandably) assumed he was telling some boring joke.

Once more from the SEC’s complaint:

At approximately 1:13 PM EDT, a Tesla investor and friend of Musk’s chief of staff texted the chief of staff, ‘What’s Elon’s tweet about? Can’t make any sense of it. Would  be incredibly disappointing for shareholders that have stuck it out for so long.’ A few minutes later, at approximately 1:32 PM EDT, a business reporter texted Musk’s chief of staff, ‘Quite a tweet! (Is it a joke?).’

At approximately 2:23 PM EDT, another reporter sent Musk an email with the subject, ‘Are you just messing around?’ and wrote, ‘Reaching out to see what’s going on with your tweets about taking the company private? Is this just a 420 joke gone awry? Are you serious? It seems like you are dancing into some pretty tricky legal territory by messing about with the markets this way. Is there an actual explanation coming?’

We’re laughing so we don’t cry.

More on the SEC lawsuit: Ludacris Mode: SEC Sues Elon Musk, Causing a Quick Drop in Tesla Stock

The post The Five Funniest Things about the SEC’s Lawsuit against Elon Musk appeared first on Futurism.

Visit link:

The Five Funniest Things about the SEC’s Lawsuit against Elon Musk

In a Shift, Apple and Amazon Say They Are in Favor of Federal Privacy Regulation

Here we go again: tech executives have found themselves in front of Congress.

On Wednesday, execs from Apple, Google, Twitter, AT&T, and Charter Communications came before a Senate Commerce Committee to once more discuss mishandling consumer data and concerns over privacy rights. Congress made its intentions clear — it wants to pass federal rules on how tech companies are allowed to handle private consumer data.

It’s easy to imagine that this hearing might have gone the same way as the five that came before it — under-informed congresspeople ask softball questions, tech company execs back-pedal, question-dodge, and answer vaguely whenever federal regulation comes up.

But this time, things were different. Leaders from prominent tech companies like Apple and Amazon have stated their support for federal regulations that would protect the privacy of user data the companies collect.

Bud Tribble, a vice president at Apple and leader of the company’s privacy software efforts said: “We believe that privacy is a fundamental human right, which should be supported by both social norms and the law,” according to Bloomberg.

Other tech execs followed suit — albeit in more equivocal terms. At Wednesday’s hearing, Amazon’s vice president Andrew DeVore said the company would agree to federal regulations, but warned of “possible unintended consequences” of strong state law, according to Canadian newspaper the National Post. DeVore fears that strong privacy laws could end up defining personal data as far too all-encompassing, stifling innovation.

On it’s face, the shift seems surprising. But these companies might have a different motive than protecting their users’ privacy rights. Silicon Valley holds considerable power over Congress. Part of the reason for Wednesday’s hearing was for Congress to ask tech execs for advice on how to regulate the tech industry, according to the Department of Commerce’s website.

Regulation seems imminent. In late June, California passed the Consumer Privacy Act, which gave Californians the right to know who collected what data and ask for that data to be deleted on the spot, while the European Union’s General Data Protection Regulation (GDPR) became enforceable in May.

Silicon Valley was generally unhappy with these laws — the California law was unpopular with some tech companies because it they fear it could seriously undermine the revenue they get from selling that data to third parties once it goes into effect in 2020; the companies rushed to comply with GDPR or face some very steep fines.

As the federal government considers what kind of regulation to put in place, tech companies have a window. By throwing their support behind a law now, companies might be able to dodge much stronger, more restrictive legislation. Here are some of the factors at play:

  • Federal privacy legislation — if it ever solidifies into an actual Bill — is bound to be shaped by the interest of those companies. Congress listens to tech execs, while consumer-level advocacy groups are locked out of the discussions, as Wired points out.
  • If weak federal privacy laws are able to supersede stronger state laws like California’s Privacy Act, they could end up benefiting private tech companies, protecting them from more heavy-handed state laws in the future.
  • It’s in the tech companies’ interest to streamline the process of adhering to privacy laws — it’s easier to comply with a single legal framework, rather than 50 different state laws.

A federal law that regulates tech companies may look like a win for the general public on the surface, but we shouldn’t underestimate the deviousness of the companies the laws are exactly intended to rein in. These companies likely see this as an opportunity to avoid having to abide by stronger privacy laws in the future.

Read More: Social Media Giants Need Regulation From a Government That’s Unsure How To Help

The post In a Shift, Apple and Amazon Say They Are in Favor of Federal Privacy Regulation appeared first on Futurism.

Original post:

In a Shift, Apple and Amazon Say They Are in Favor of Federal Privacy Regulation

Paint it Clear: This Coating Could Make Your AC Obsolete

BEAT THE HEAT

Cranking up your air conditioner in the summer heat might seem like a good idea. But it’s not a great idea for the planet, or for your electric bill.

Now, researchers from Columbia University have devised an alternative to air conditioning that could keep your home cool without sending your power bill sky high. It’s a white polymer that reflects more than 96 percent of sunlight, and it comes in a dyeable, paint-like form, meaning we could use it to coat the sides and roofs of our homes to keep them cooler when the Sun is at its strongest.

TINY BUBBLES

The researchers describe the coating in a paper published Thursday in the journal Science. To create it, they engineered a mixture that forces water to settle into tiny droplets in a polymer. When those droplets evaporate, they leave tiny air holes behind. The holes, the researchers say, are what give the coating its remarkable sunlight-reflecting property.

The researchers put their concoction to the test under the oppressive heat of Phoenix, Arizona, painting it onto a copper sheet attached to sensors to measure the temperature. After 30 minutes, they found that the coating was 6 degrees Celsius (10.8 degrees Fahrenheit) cooler than the ambient temperature. That means it might not be long before we’re slathering the stuff on our homes in order to ward off the summer heat without cranking the AC.

UNDER THE SUN

The world is only getting hotter as we deal with the repercussions of climate change, and until we transition fully to renewables, using electricity to cool our homes will only exacerbate the problem.

Additionally, not everyone can use air conditioning — think people in low-income regions or places without electricity — and for those folks, this cheap, easy-to-implement way to lower temperatures could literally be a life-saver.

READ MORE: Keeping Things Cool With a Paint-Like Polymer [EurekAlert]

More on polymers: Unbreakable: Watch a Spray-On Polymer Let Objects Survive a 148-Foot Fall

The post Paint it Clear: This Coating Could Make Your AC Obsolete appeared first on Futurism.

Read the original post:

Paint it Clear: This Coating Could Make Your AC Obsolete

Futurism – Wikipedia

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized 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 Futurist meals. 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 Futurist Manifesto,[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. Khlebnikov and 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

See the original post here:

Futurism – Wikipedia

Futurism | the arts | Britannica.com

Futurism, Italian Futurismo, Russian Futurizm, early 20th-century artistic movement centred in Italy that emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life. During the second decade of the 20th century, the movements influence radiated outward across most of Europe, most significantly to the Russian avant-garde. The most-significant results of the movement were in the visual arts and poetry.

Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. Marinetti coined the word Futurism to reflect his goal of discarding the art of the past and celebrating change, originality, and innovation in culture and society. Marinettis manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. Exalting violence and conflict, he called for the sweeping repudiation of traditional values and the destruction of cultural institutions such as museums and libraries. The manifestos rhetoric was passionately bombastic; its aggressive tone was purposely intended to inspire public anger and arouse controversy.

Read More on This Topic

theatre: Futurism in Italy

Although it produced one major dramatist, Luigi Pirandello, in the period between the two world wars, the Italian theatre contributed very little to staging or theatre production. What was important was the work of the Futurists led by Marinetti. This movement predated

Marinettis manifesto inspired a group of young painters in Milan to apply Futurist ideas to the visual arts. Umberto Boccioni, Carlo Carr, Luigi Russolo, Giacomo Balla, and Gino Severini published several manifestos on painting in 1910. Like Marinetti, they glorified originality and expressed their disdain for inherited artistic traditions.

Although they were not yet working in what was to become the Futurist style, the group called for artists to have an emotional involvement in the dynamics of modern life. They wanted to depict visually the perception of movement, speed, and change. To achieve this, the Futurist painters adopted the Cubist technique of using fragmented and intersecting plane surfaces and outlines to show several simultaneous views of an object. But the Futurists additionally sought to portray the objects movement, so their works typically include rhythmic spatial repetitions of an objects outlines during transit. The effect resembles multiple photographic exposures of a moving object. An example is Ballas painting Dynamism of a Dog on a Leash (1912), in which a trotting dachshunds legs are depicted as a blur of multiple images. The Futurist paintings differed from Cubist work in other important ways. While the Cubists favoured still life and portraiture, the Futurists preferred subjects such as speeding automobiles and trains, racing cyclists, dancers, animals, and urban crowds. Futurist paintings have brighter and more vibrant colours than Cubist works, and they reveal dynamic, agitated compositions in which rhythmically swirling forms reach crescendos of violent movement.

Boccioni also became interested in sculpture, publishing a manifesto on the subject in the spring of 1912. He is considered to have most fully realized his theories in two sculptures, Development of a Bottle in Space (1912), in which he represented both the inner and outer contours of a bottle, and Unique Forms of Continuity in Space (1913), in which a human figure is not portrayed as one solid form but is instead composed of the multiple planes in space through which the figure moves.

Futurist principles extended to architecture as well. Antonio SantElia formulated a Futurist manifesto on architecture in 1914. His visionary drawings of highly mechanized cities and boldly modern skyscrapers prefigure some of the most imaginative 20th-century architectural planning.

Boccioni, who had been the most-talented artist in the group, and SantElia both died during military service in 1916. Boccionis death, combined with expansion of the groups personnel and the sobering realities of the devastation caused by World War I, effectively brought an end to the Futurist movement as an important historical force in the visual arts.

Not content with merely taking over the urban and modernist themes of Futurist painting, the writers who embraced Italian literary Futurism sought to develop a language appropriate for what they perceived to be the speed and ruthlessness of the early 20th century. They established new genres, the most significant being parole in libert (words-in-freedom), also referred to as free-word poetry. It was poetry liberated from the constraints of linear typography and conventional syntax and spelling. A brief extract from Marinettis war poem Battaglia peso + odore (1912; Battle Weight + Smell) was appended to one of the Futurists manifestos as an example of words-in-freedom:

Arterial-roads bulging heat fermenting hair armpits drum blinding blondness breathing + rucksack 18 kilograms common sense = seesaw metal moneybox weakness: 3 shudders commands stones anger enemy magnet lightness glory heroism Vanguards: 100 meters machine guns rifle-fire explosion violins brass pim pum pac pac tim tum machine guns tataratatarata

Designed analogies (pictograms where shape analogically mimics meaning), dipinti paroliberi (literary collages combining graphic elements with free-word poetry), and sintesi (minimalist plays) were among other new genres. New forms of dissemination were favoured, including Futurist evenings, mixed-media events, and the use of manifesto leaflets, poster poems, and broadsheet-format journals containing a mixture of literature, painting, and theoretical pronouncements. Until 1914, however, output fell far short of the movements declared program, and Futurist poetsin contrast to Marinettiremained largely traditionalist in their subject matter and idiom, as was demonstrated by the movements debut anthology I poeti futuristi (1912; The Futurist Poets).

Marinetti was for some time primarily associated with his African Mafarka le futuriste (1910; Mafarka the Futurist), a tale of rape, pillage, and battle set in North Africa. Apart from its misogyny, racism, and glorification of a cult of violence, the novel is remembered for its heros creation of a machine brought to life as a superman destined to inherit the future. Only when Marinetti started grounding his avant-garde poetry in the realities of his combat experiences as a war reporter during World War I, however, did a distinctly innovative Futurist idiom emerge, one that represented a significant break from past poetic practices.

The title of literary Futurisms most important manifesto, Distruzione della sintassiimmaginazione senza filiparole in libert (1913; Destruction of SyntaxWireless ImaginationWords-in-Freedom), represented Marinettis demands for a pared-down elliptical language, stripped of adjectives and adverbs, with verbs in the infinitive and mathematical signs and word pairings used to convey information more economically and more boldly. The resultant telegraphic lyricism is most effective in Marinettis war poetry, especially Zang tumb tumb and Dunes (both 1914). A desire to make language more intensive led to a pronounced use of onomatopoeia in poems dealing with machines and waras in the title of Zang tumb tumb, intended to mimic the sound of artillery fireand to a departure from uniform, horizontal typography. A number of Futurist painter-poets blurred the distinction between literature and visual art, as Severini did in Danza serpentina (1914; Serpentine Dance). While Marinettis poetic experiments revealed an indebtedness to Cubism, he elevated Italian literary collage, often created for the purpose of pro-war propaganda, to a distinctively Futurist art form. The culmination of this tendency came with Carrs Festa patriottica (1914; Patriotic Celebration) and Marinettis Les Mots en libert futuristes (1919; Futurist Words-in-Freedom).

A typographical revolution was also proclaimed in the Futurists 1913 manifesto; it grew out of both a desire to make form visually dynamic and a perceived need for visual effects in type that were capable of reflectingthrough size and boldnessthe noise of modern warfare and urban life. A diverse series of shaped poetic layouts depicted speeding cars, trains, and airplanes, exploding bombs, and the confusions of battle. Apart from Marinettis work, the most accomplished typographical experiments are to be found in the poetry of Francesco Cangiullo and Fortunato Depero.

During its first decade, Italian literary Futurism remained a largely homogeneous movement. By contrast, Russian Futurism was fragmented into a number of splinter groups (Ego-Futurists, Cubo-Futurists, Hylaea [Russian Gileya]) associated with a large number of anthologies representing continually regrouping artistic factions. While there was an urbanist strand to Russian Futurism, especially in the poetry of Vladimir Mayakovsky and Yelena Guro, Russian writers were less preoccupied with machines, speed, and violence than their Italian counterparts. The dominant strain of primitivism in Russian Futurism led some to conclude that the two movements have little in common apart from the word Futurism. While there was a shared interest in the renewal of language, the Italians innovations were invariably designed to express an ultramodern sensibility, whereas Russian Futurist poets and playwrights confined their attentions to The Word as Such (the title of one of their most famous manifestos, Slovo kak takovoye, published in 1913). A number of these writers, most impressively Velimir Khlebnikov, explored the archaic roots of language and drew on primitive folk culture for their inspiration.

As was the case in Italy, the main achievements of Russian Futurism lie in poetry and drama. As it did in Italy, neologism played a large role in Russian attempts to renew language, which in turn aimed at the destruction of syntax. The most-famous Futurist poem, Khlebnikovs Zaklyatiye smekhom (1910; Incantation by Laughter), generates a series of permutations built on the root -smekh (laughter) by adding impossible prefixes and suffixes. The result is a typical (for Russian Futurism) concern with etymology and word creation. Khlebnikovs and Alexey Kruchenykhs radical forays into linguistic poetry went hand in hand with an interest in the word as pure sound. Their invented zaumthe largely untranslatable name given to their transrational languagewas intended to take language beyond logical meanings in the direction of a new visionary mysticism. Kruchenykhs opera Pobeda nad solncem (1913; Victory over the Sun) and Khlebnikovs play Zangezi (1922) are two of the most-important examples of the Futurist blend of transrationalism with the cult of the primitive. Mayakovsky, the greatest Russian poet to have gone through a Futurist phase, was coauthor of the manifesto Poshchochina obshchestvennomu vkusu (1912; A Slap in the Face of Public Taste), and his poems figure in many of the movements key anthologies. While sharing an Italian-influenced Futurist sensibility with the Ego-Futurists and belonging more, on account of their concern with verbal innovation, to the body of works by the Cubo-Futurist painter-poets, his poetry and plays are, above all, Futurist in their provocative rejection of the past and their subjectivist approach to the renewal of poetic language.

During the 1920s, Marinetti and those around him gravitated toward fascism, whereas the Soviet communist regime became increasingly intolerant of what it dismissed as avant-garde Formalism. While relations between Italian and Russian Futurism were, on the whole, strained, the Italian Futurists exercised a strong influence on German Expressionism, English Vorticism, and international Dada.

See original here:

Futurism | the arts | Britannica.com

Robert Downey Jr. – The Futurist – Amazon.com Music

‘).appendTo(flyout.elem());var panelGroup=flyout.getName()+’SubCats’;var hideTimeout=null;var sloppyTrigger=createSloppyTrigger($parent);var showParent=function(){if(hideTimeout){clearTimeout(hideTimeout);hideTimeout=null;} if(visible){return;} var height=$(‘#nav-flyout-shopAll’).height(); $parent.css({‘height’: height});$parent.animate({width:’show’},{duration:200,complete:function(){$parent.css({overflow:’visible’});}});visible=true;};var hideParentNow=function(){$parent.stop().css({overflow:’hidden’,display:’none’,width:’auto’,height:’auto’});panels.hideAll({group:panelGroup});visible=false;if(hideTimeout){clearTimeout(hideTimeout);hideTimeout=null;}};var hideParent=function(){if(!visible){return;} if(hideTimeout){clearTimeout(hideTimeout);hideTimeout=null;} hideTimeout=setTimeout(hideParentNow,10);};flyout.onHide(function(){sloppyTrigger.disable();hideParentNow();this.elem().hide();});var addPanel=function($link,panelKey){var panel=dataPanel({className:’nav-subcat’,dataKey:panelKey,groups:[panelGroup],spinner:false,visible:false});if(!flyoutDebug){var mouseout=mouseOutUtility();mouseout.add(flyout.elem());mouseout.action(function(){panel.hide();});mouseout.enable();} var a11y=a11yHandler({link:$link,onEscape:function(){panel.hide();$link.focus();}});var logPanelInteraction=function(promoID,wlTriggers){var logNow=$F.once().on(function(){var panelEvent=$.extend({},event,{id:promoID});if(config.browsePromos&&!!config.browsePromos[promoID]){panelEvent.bp=1;} logEvent(panelEvent);phoneHome.trigger(wlTriggers);});if(panel.isVisible()&&panel.hasInteracted()){logNow();}else{panel.onInteract(logNow);}};panel.onData(function(data){renderPromo(data.promoID,panel.elem());logPanelInteraction(data.promoID,data.wlTriggers);});panel.onShow(function(){var columnCount=$(‘.nav-column’,panel.elem()).length;panel.elem().addClass(‘nav-colcount-‘+columnCount);showParent();var $subCatLinks=$(‘.nav-subcat-links > a’,panel.elem());var length=$subCatLinks.length;if(length>0){var firstElementLeftPos=$subCatLinks.eq(0).offset().left;for(var i=1;i’+ catTitle+”);panel.elem().prepend($subPanelTitle);}} $link.addClass(‘nav-active’);});panel.onHide(function(){$link.removeClass(‘nav-active’);hideParent();a11y.disable();sloppyTrigger.disable();});panel.onShow(function(){a11y.elems($(‘a, area’,panel.elem()));});sloppyTrigger.register($link,panel);if(flyoutDebug){$link.click(function(){if(panel.isVisible()){panel.hide();}else{panel.show();}});} var panelKeyHandler=onKey($link,function(){if(this.isEnter()||this.isSpace()){panel.show();}},’keydown’,false);$link.focus(function(){panelKeyHandler.bind();}).blur(function(){panelKeyHandler.unbind();});panel.elem().appendTo($parent);};var hideParentAndResetTrigger=function(){hideParent();sloppyTrigger.disable();};for(var i=0;i

Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to Amazon.com (US).

Fix in Music Library Close

Sold by: JAPANOMONOshop.JAPANOMONO is the meaning of Japanese products. We, Japanese staff members, deliver with care items we select carefully.

Image not available forColor:

Oscar nominated & Emmy winning actor Robert Downey Jr. reveals a new side to his talent with the release of The Futurist, his first recording as singer and songwriter. With eight original songs and a pair of covers of a classic Yes song and Charlie Chaplin’s ‘Smile’. Downey also plays piano on a number of the songs.

The actor-turned-recording-artist oeuvre has long been ripe for ridicule — Sebastian Cabot does Dylan, anyone? — and short on surprises, but this warm, low-key effort by Downey offers up a few intriguing ones. Though he’s toyed with music previously, the actor’s commitment here is a total one, his troubadour guise carried via an earthy voice with echoes of Dave Matthews’ and informed by lyrics with more than a little personal, if lyrically opaque, truth. The wistful “Broken” may be carried on the album’s most lilting melody, but its repeated AA-creed refrain is a bittersweet reminder of Downey’s personal demons. Spare, jazzy arrangements help keep the focus on Downey’s voice throughout, a brave tack that sometimes overplays his novice songwriting skills. But while songs like the Wonder Boys-inspired “Hannah” may amble, the forceful “Man Like Me” and stately grace of “Kimberly Glide” are better showcases for Downey’s musical promise. His eight originals are supplemented by two covers: an expected, if overly smoky jazz trio cover of Chaplin’s “Smile” and a quaintly confident cover of Yes’ “Your Move” sweetened by Jon Anderson himself on backing vocals. — Jerry McCulley

Your Shopping Cart is empty.

Give it purposefill it with books, DVDs, clothes, electronics, and more.

If you already have an account, sign in.

More here:

Robert Downey Jr. – The Futurist – Amazon.com Music

Future Technology News – Future Society Predictions | Futurism

Technology allows us to live longer, work less, and know more than ever before. But what will we do once most of our labor force is replaced by computers or robots? Who has the final say in how knowledge is used and who has access to it? These questions are just a snapshot of the issues we will have to face in the future. Well track the policies, predictions, and philosophies that are steering us into the world of tomorrow.

View post:

Future Technology News – Future Society Predictions | Futurism

THOMAS FREY: | Futurist Speaker Thomas Frey

Thomas Frey is the Senior Futurist at the DaVinci Institute, and Googles top rated Futurist Speaker. Unlike most speakers, Thomas works closely with his Board of Visionaries to develop original research studies. This enables him to speak on unusual topics and translate trends into unique business opportunities. This video serves as a great example of Thomass unique perspective of the future.

Read more:

THOMAS FREY: | Futurist Speaker Thomas Frey

futurist | Definition of futurist in English by Oxford …

noun

1An adherent of Futurism.

Example sentences

2A person who studies the future and makes predictions about it based on current trends.

the agency hired a futurist to pinpoint trends

More example sentences

3Theology A person who believes that eschatological prophecies are still to be fulfilled.

1Relating to Futurism or the Futurists.

the Futurist painters

More example sentences

2Relating to a vision of the future.

the grim urban setting of the novel would have been a futurist nightmare

More example sentences

Follow this link:

futurist | Definition of futurist in English by Oxford …