Kanye is a FUTURIST
This is the message that I took from Mr. West the college dropout.
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Are we running out of food? Tim Longhurst on the future of food. – Video
Are we running out of food? Tim Longhurst on the future of food.
Future of Food Interview with Futurist, Tim Longhurst.
By: Tim Longhurst
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Are we running out of food? Tim Longhurst on the future of food. - Video
Futurist – Wikipedia, the free encyclopedia
Futurists (not in the sense of futurism) or futurologists are scientists and social scientists whose speciality is to attempt to systematically explore predictions and possibilities about the future and how they can emerge from the present, whether that of human society in particular or of life on earth in general.
The term "futurist" most commonly refers to authors, consultants, organizational leaders and others who engage in interdisciplinary and systems thinking to advise private and public organizations on such matters as diverse global trends, plausible scenarios, emerging market opportunities and risk management.
The Oxford English Dictionary identifies the earliest use of the term futurism in English as 1842, to refer, in a theological context, to the Christian eschatological tendency of that time. The next recorded use is the label adopted by the Italian and Russian futurists, the artistic, literary and political movements of the 1920s and 1930s which sought to reject the past and fervently embrace speed, technology and, often violent, change.
Visionary writers such as Jules Verne, Edward Bellamy and H.G.Wells were not in their day characterized as futurists. The term futurology in its contemporary sense was first coined in the mid1940s by the German Professor Ossip K. Flechtheim, who proposed a new science of probability. Flechtheim argued that even if systematic forecasting did no more than unveil the subset of statistically highly probable processes of change and charted their advance, it would still be of crucial social value.[1]
In the mid1940s the first professional "futurist" consulting institutions like RAND and SRI began to engage in long-range planning, systematic trend watching, scenario development, and visioning, at first under World WarII military and government contract and, beginning in the 1950s, for private institutions and corporations. The period from the late 1940s to the mid1960s laid the conceptual and methodological foundations of the modern futures studies field. Bertrand de Jouvenel's The Art of Conjecture in 1963 and Dennis Gabor's Inventing the Future in 1964 are considered key early works, and the first U.S.university course devoted entirely to the future was taught by futurist Alvin Toffler at The New School in 1966.[2]
More generally, the label includes such disparate lay, professional, and academic groups as visionaries, foresight consultants, corporate strategists, policy analysts, cultural critics, planners, marketers, forecasters, prediction market developers, roadmappers, operations researchers, investment managers, actuaries and other risk analyzers, and future-oriented individuals educated in every academic discipline, including anthropology, complexity studies, computer science, economics, engineering, Urban design, evolutionary biology, history, management, mathematics, philosophy, physical sciences, political science, psychology, sociology, systems theory, technology studies, and other disciplines.
"Futures studies"sometimes referred to as futurology, futures research, and foresightcan be summarized as being concerned with "three P's and a W", i.e. "possible, probable, and preferable" futures, plus "wildcards", which are low-probability, high-impact events, should they occur. Even with high-profile, probable events, such as the fall of telecommunications costs, the growth of the internet, or the aging demographics of particular countries, there is often significant uncertainty in the rate or continuation of a trend. Thus a key part of futures analysis is the managing of uncertainty and risk.[3]
Not all futurists engage in the practice of futurology as generally defined. Preconventional futurists (see below) would generally not. And while religious futurists, astrologers, occultists, New Age divinists, etc. use methodologies that include study, none of their personal revelation or belief-based work would fall within a consensus definition of futurology as used in academics or by futures studies professionals.
THE FUTURIST magazine A magazine published by the World Future Society
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Futurist: Technology can help rural America attract young people
Futurist: Technology can help rural America attract young people
A futurist said Nov. 5 that young people view the communications devices they use as a part of their community, not mere tools, and this perspective will change how they live, work and play in ways that could benefit rural America.
Meantime, rural Nebraskans already are generating new ideas to revitalize their communities, ranging from using smartphone apps to give old town museums new life to providing special credit or donated land to help young farmers and ranchers get a start.
Tom Koulopoulos, founder of the Delphi Group, was keynote speaker for the University of Nebraskas second annual Rural Futures Conference, which ended Nov. 5 at the Cornhusker Hotel.
Koulopoulos said that humans always have sought out community, but technology is changing how they define it.
Community is what we seek and embrace, he said. Urbanization occurred because people found it necessary to gather in large numbers to conduct commerce and communicate. Thats not true anymore.
Kids are growing up constantly connected to each other and their devices. These devices become part of their community, Koulopoulos said. The notion of what community is will change in ways that are impossible for us to fathom right now.
Those changes could benefit rural America, he added. He predicted a mass exodus of future generations away from cities.
These kids want meaning. They want quality. They want a better life, he said. Kids realize they dont have to live in cities to get it.
NU President James B. Milliken said the Rural Futures Institute, which sponsors the conference, fits perfectly with the land-grant universitys mission, first set out more than 150 years ago, to connect universities to their states citizens.
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Futurist: Technology can help rural America attract young people
Robert Downey: A futurist knows
FORTUNE -- Robert Downey Jr. has become one of the most powerful players in Hollywood. But the 48-year-old actor admits he's not much of a networker. "I think about people, and I have a conversation with them in my head," he says. "But I tend to not reach out." In an interview about his career and the future of the movie industry, the Iron Man and Sherlock Holmes actor tells Fortune about the real-life discussions (Elon Musk!) that have influenced his thinking about technology, business, and entertainment. Edited portions of the interview will appear in the January 13 issue of Fortune; a lengthier excerpt of the Q&A follows.
Q. This isn't the first time your image has been on the cover of a business magazine. Tony Stark's face has graced the cover of a few news titles.
A. Yes! I wanted to close the circle.
Elon Musk has been compared to Tony Stark, and parts of Iron Man 2 were filmed at a SpaceX facility. Did you ever meet?
The genesis of that goes back to preproduction for Iron Man I, when SpaceX was in a smaller facility and Elon Musk was not a household name. As part of my research, I wanted to interview two people: John Underkoffler [the chief scientist at computer interface company Oblong] and Elon. I thought it was really interesting that he literally had decided to become a rocket scientist. And although the similarities kind of end with a certain -- what would you say? -- just an amazing self-agency, you know, that I think Elon really embodies. I was looking to Underkoffler for straight technology [advice]. You remember in Minority Report, the character is wearing those gloves and moving the screens around? He and his company built that into a reality, so I was taking some cues from him: If Tony had designed his own software and his own programs and the machinery to operate them, what sort of language would he design to be able to manipulate his environment? And over the course of all these movies, that's been as much a part of Tony's character as anything else.
MORE:The Fortune crystal ball
The spirit of Elon was really inspiring to me because Tony goes from doing one thing so well and so successfully, and goes to do something that's a lot more risky and much more far reaching.
And then in the second Iron Man, Tony Stark has a conversation with Elon Musk about doing a project together. I think it's electric jets if I'm not mistaken.
Were there any other business leaders or powerful people who inspired your performance?
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Global Futurist and Technology Forecaster Jack Uldrich Presents His Top Predictions for 2014
San Francisco, CA (PRWEB) December 17, 2013
Popular and provocative keynote speaker, best-selling author and renowned global futurist Jack Uldrich has released his annual list of predictions for 2014. Included on this years list are: a superstar MOOC professor, a sexting senator, a deadly virtual rollercoaster, an irrationally exuberant Alan Greenspan, a $100 bio-burger, a Miley Cyrus-stalking drone, and a Tesla-fuled electrical grid blackout ... among other things.
The scenarioswhich are quite specificare not intend to be taken literally, said Uldrich, the best-selling author of Foresight 20/20: A Futurist Explores the Trends Transforming Tomorrow and Higher Unlearning: 39 Post-Requisite Lessons for Achieving a Successful Future. However, the technology underlying the scenarios must be taken seriously. Each prediction is intended to provoke the readers thinking and help him or her better understand how many of todays technology trends will continue to transform the world around them. Continued Uldrich, the list is also designed to be useful for corporations and organizations involved in strategic planning. To this end, the predictions often show the positive as well as the negative implications of tomorrow's technological transformations.
In the past year, Uldrich--who also recently released this report on 10 Game-Changing Technological Trends Transforming Tomorrow--has addressed hundreds of business groups around the world, including delivering customized keynote presentations to Eaton, Invensys, United Healthcare, Boston Scientific, Franklin Templeton, Optus, Bausch and Lomb, Avnet, Digi-Key, the European Association of International Educators and scores of other corporations, associations and organizations.
Parties interested in learning more about Jack Uldrich, his books, his daily blog or his speaking availability are encouraged to visit his website at: http://www.jumpthecurve.net. Media wishing to know more about the event or interviewing Jack Uldrich can contact him directly at 612-267-1212 or jack(at)schoolofunlearning(dot)com.
Uldrich is a renowned global futurist, technology forecaster, best-selling author, editor of the monthly newsletter, The Exponential Executive, and host of the award-winning website, http://www.jumpthecurve.net. He is currently represented by a number of professional speakers' bureaus, including Leading Authorities.
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Global Futurist and Technology Forecaster Jack Uldrich Presents His Top Predictions for 2014
Futurism (Christianity) – Wikipedia, the free encyclopedia
Futurism is a Christian eschatological view that interprets portions of the Book of Revelation, the Book of Daniel, and other prophecies, as future events in a literal, physical, apocalyptic, and global context.[1] By comparison, other Christian eschatological views interpret these passages as past events in a literal, physical, and local context (Preterism and Historicism), or as present-day events in a non-literal and spiritual context (Idealism).
The futurist interpretation of Revelation and Daniel has been around since the earliest centuries of the Christian Church. Irenaeus of Lyon, for instance, was of the view that Daniel's 70th week awaited a future fulfillment.[2] During the Middle Ages and the Reformation, futuristic interpretations were virtually non-existent, however. To counter the Protestant interpretation of historicism,[3]Roman Catholic Jesuit Francisco Ribera (15371591) wrote a 500 page commentary on the Book of Revelation. This commentary established the futurist interpretation of Bible prophecy.[4]
The futurist view assigns all or most of the prophecy to the future, shortly before the Second Coming; especially when interpreted in conjunction with Daniel, Isaiah 2:11-22, 1 Thessalonians 4:155:11, and other eschatological sections of the Bible.[citation needed]
Futurist interpretations generally predict a resurrection of the dead and a rapture of the living, wherein all true Christians are gathered to Christ prior to the time God's kingdom comes on earth. They also believe a tribulation will occur - a seven-year period of time when believers will experience worldwide persecution and martyrdom, and be purified and strengthened by it. Futurists differ on when believers will be raptured, but there are three primary views: 1) before the tribulation; 2) near or at the midpoint of the tribulation; or 3) at the end of the tribulation. There is also a fourth view of multiple raptures throughout the tribulation, but this view does not have a mainstream following.[citation needed]
Pretribulationists believe that all Christians then alive will be taken up to meet Christ before the Tribulation begins. In this manner, Christians are "kept from" the Tribulation, such as Enoch was removed before God judged the antediluvian world, in contrast with Noah who was "kept through" wrath and judgement of God in the flood of Genesis.[citation needed]
Midtribulationists believe that the rapture of the faithful will occur approximately halfway through the Tribulation, after it begins but before the worst part of it occurs. Some midtribulationists, particularly those[who?] holding to a "pre-wrath rapture" of the church, believe that God's wrath is poured out during a "Great Tribulation" that is limited to the last 3 years of the Tribulation, after believers have been caught up to Christ.[citation needed]
Post-tribulationists believe that Christians will be gathered in the clouds with Christ and join him in his return to earth. (Pretribulationist Tim LaHaye admits a post-tribulation rapture is the closest of the three views to that held by the early church.)[citation needed]
All three views hold that Christians will return with Christ at the end of the Tribulation. Proponents of all three views also generally portray Israel as unwittingly signing a seven-year peace treaty with the Antichrist, which initiates the seven-year Tribulation. Many also tend to view the Antichrist as head of a revived Roman Empire, but the geographic location of this empire is unknown. Hal Lindsey suggests that this revived Roman Empire will be centered in western Europe, with Rome as its capital. Tim LaHaye promotes the belief that Babylon will be the capital of a worldwide empire. Joel Richardson and Walid Shoebat have both recently written books proposing a revived eastern Roman Empire, which will fall with the boundaries of the Ottoman Empire. (Istanbul also has seven hills, was a capital of the Roman Empire as Constantinople, known as the Byzantine Empire, and a body of water in the city is known as the Golden Horn - notable given the eschatological references to the "Little Horn"Daniel 7:8,8:9.)[citation needed]
The futurist view was first proposed by two Catholic writers, Manuel Lacunza and Francisco Ribera. Lacunza wrote under the pen name "Ben-Ezra", and his work was banned by the Catholic Church. It has grown in popularity in the 19th and 20th centuries, so that today it is probably most readily recognized. Books about the "rapture" by authors like Hal Lindsey, and the more recent Left Behind novels (by Jerry Jenkins and Tim LaHaye) and movies, have done much to popularize this school of thought.[citation needed]
The various views on tribulation are actually a subset of theological interpretations on the Millennium, mentioned in Revelation 20. There are three main interpretations: Premillennialism, Amillennialism, and Postmillennialism.[citation needed]
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Futurism – Wikipedia, the free encyclopedia
Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the aeroplane and the industrial city. It was largely an Italian phenomenon, though there were parallel movements in Russia, England 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 gastronomy. Key figures of the movement include the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Bruno Munari and Luigi Russolo, and the Russians Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh and Vladimir Mayakovsky, as well as the Portuguese Almada Negreiros. Its members aimed to liberate Italy from the weight of its past, to glorify modernity.[1] Important works include its seminal piece of the literature, Marinetti's Manifesto of Futurism, as well as Boccioni's sculpture, Unique Forms of Continuity in Space, and Balla's painting, Abstract Speed + Sound (pictured). Futurism influenced art movements such as 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, 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 20 February 1909. 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.[2]
The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. 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."[3]
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.[4] 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."[5] 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.[5]
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).[6]
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 leash and the feet of the woman walking it have 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."[3] 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.
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D.Carbone-Acid Futurism (Original mix) [Planet Rhythm — PRRUK 093] – Video
D.Carbone-Acid Futurism (Original mix) [Planet Rhythm -- PRRUK 093]
Buy: http://hardwax.com/69799/d-carbone/acid-futurism-ep/
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D.Carbone-Acid Futurism (Original mix) [Planet Rhythm -- PRRUK 093] - Video
Futurism (music) – Wikipedia, the free encyclopedia
Futurism was an early 20th-century art movement which encompassed painting, sculpture, poetry, theatre, music, architecture and gastronomy. Filippo Tommaso Marinetti initiated the movement with his Manifesto of Futurism, published in February 1909. Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would go on to influence several 20th-century composers.
The musician Francesco Balilla Pratella joined the movement in 1910 and wrote the Manifesto of Futurist Musicians (1910), the Technical Manifesto of Futurist Music (1911) and The Destruction of Quadrature (Distruzione della quadratura), (1912). In The Manifesto of Futurist Musicians, Pratella appealed to the young, as had Marinetti, because only they could understand what he had to say. He boasted of the prize that he had won for his musical Futurist work, La Sina dVargun, and the success of its first performance at the Teatro Communale at Bologna in December 1909, which placed him in a position to judge the musical scene. 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 Richard Strauss, Debussy, Elgar, Mussorgsky, Glazunov and Sibelius. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form". The conservatories encouraged 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".
His musical programme was:
Luigi Russolo (1885-1947) was an Italian painter and self-taught musician. In 1913 he wrote The Art of Noises,[1][2] which is considered[citation needed] to be one of the most important and influential texts in 20th-century musical aesthetics. Russolo and his brother Antonio used instruments they 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. The Art of Noises classified "noise-sound" into six groups:
Russolo and Marinetti gave the first concert of Futurist music, complete with intonarumori, in April 1914 (causing a riot).[3] The program comprised four "networks of noises" with the following titles:
Further concerts around Europe were cancelled due to the outbreak of the First World War.
Futurism was one of several 20th century movements in art music that paid homage to, included or imitated machines. Feruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition.[4] Russolo's intonarumori influenced Stravinsky, Honegger, Antheil, and Edgar Varse.[5] In Pacific 231, Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev's The Steel Step.
Most notable in this respect, however, is George Antheil. Embraced by Dadaists, Futurists and modernists, Antheil expressed in music the artistic radicalism of the 1920s. 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.
Russian Futurist composers included Arthur-Vincent Louri, Mikhail Gnesin, Alexander Goedicke, Geog Kirkor (1910-1980), Julian Krein (1913- 1996), and Alexander Mosolov.
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WebMuseum: Futurism – ibiblio
Futurism, Italian Futurismo, Russian Futurism, an early 20th-century artistic movement that centred in Italy and emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life in general. The most significant results of the movement were in the visual arts and poetry.
Futurism was first announced on Feb. 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti (q.v.). The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention.
Movement in art, music, and literature begun in Italy about 1910 and marked esp. by an effort to give formal expression to the dynamic energy and movement of mechanical processes.
1909; Doctrine esthtique (formule par le pote italien Marinetti) exaltant le mouvement, et tout ce qui dans le prsent (vie ardente, vitesse, machinisme, rvolte, got du risque, etc.) prfigurerait le monde futur. Le futurisme italien prnait la violence, la guerre. --- Tendance potique et artistique moderniste (dbarrasse des traits idologiques du futurisme italien). Les futurismes et constructivismes des annes 20.
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Futurism (the arts) — Encyclopedia Britannica
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 Feb. 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. ... (195 of 1,839 words)
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Italian Futurists come to New York
Openings Exhibitions Museums USA A foundation dedicated to the countrys Modern artists is due to open in February, to coincide with the Guggenheims examination of the movement
By Julia Halperin. Web only Published online: 19 December 2013
A foundation devoted to the study and presentation of Italian Modern art in the US is due to open to the public in New York on 22 February. Laura Mattioli, the daughter of the late Italian art collector and cotton trader Gianni Mattioli, established the Centre for Italian Modern Art (Cima) to fund research fellowships and present annual displays of work that is rarely seen outside Italy. The fist exhibition at its SoHo location focuses on the Italian Futurist Fortunato Depero (1892-1960).
News of the organisations launch comes as Futurism is gaining wider recognition in New York. In November, Sothebys set a new auction record for the artist Giacono Balla when his painting, Automobile in corsa, 1911, sold for $11.5m. Also opening in February is the Guggenheims Italian Futurism, 1909-1944: Reconstructing the Universe, the first multidisciplinary exhibition to examine the movement in the US. (The shows curator, Vivien Greene, is also on Cimas advisory board.)
Cimas inaugural exhibition (22 February-28 June) is the first in-depth presentation of work by Fortunato Depero in New York since 1928, when the artist moved to the city and opened a workshop on 23rd Street called Futurist House. The exhibition includes 50 works in a variety of media drawn entirely from Mattiolis collection.
Italy is highly praised for its excellence in fashion, design and the culinary arts, but until very recently, Italian Modern and contemporary art has been largely overlooked, says Heather Ewing, the executive director of Cima, in a statement. Strict regulations governing the export of art from Italy have played a large role in limiting its presentation outside the country. Our goal is to serve as an incubator for new discourse, scholarly debate and increased public appreciation of 20th-century Italian art.
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Italian Futurism – Smarthistory – Smarthistory: a multimedia …
Can you imagine being so enthusiastic about technology that you name your daughter Propeller? Today we take most technological advances for granted, but at the turn of the last century, innovations like electricity, x-rays, radio waves, automobiles and airplanes were novel and extremely exciting. Italy lagged Britain, France, Germany, and the United States in the pace of its industrial development. Culturally speaking, the countrys artistic reputation was grounded in Ancient, Renaissance and Baroque art and culture. Simply put, Italy represented the past.
Umberto Boccioni,Unique Forms of Continuity in Space,1913 (cast 1931), bronze, 43 7/8 x 34 7/8 x 15 3/4" (MoMA)
In the early 1900s, a group of young and rebellious Italian writers and artists emerged determined to celebrate industrialization. They were frustrated by Italys declining status and believed that the Machine Age would result in an entirely new world order and even a renewed consciousness. Filippo Tommaso Marinetti, the ringleader of this group, called the movement Futurism. Its members sought to capture the idea of modernity, the sensations and aesthetics of speed, movement, and industrial development.
A Manifesto Marinetti launched Futurism in 1909 with the publication his Futurist manifesto on the front page of the French newspaper Le Figaro. The manifesto set a fiery tone. In it Marinetti lashed out against cultural tradition (passatismo, in Italian) and called for the destruction of museums, libraries, and feminism. Futurism quickly grew into an international movement and its participants issued additional manifestos for nearly every type of art: painting, sculpture, architecture, music, photography, cinemaeven clothing. Umberto Boccioni, Materia, 1912 (reworked 1913),oil on canvas, 226 x 150 cm (Mattioli Collection loaned to Peggy Guggenheim Collection, Venice)
The Futurist paintersUmberto Boccioni, Carlo Carr, Luigi Russolo, Gino Severini, and Giacomo Ballasigned their first manifesto in 1910 (the last named his daughter ElicaPropeller!). Futurist painting had first looked to the color and the optical experiments of the late 19th century, but in the fall of 1911, Marinetti and the Futurist painters visited the Salon dAutomne in Paris and saw Cubism in person for the first time. Cubism had an immediate impact that can be seen in Boccionis Materia of 1912 for example. Nevertheless, the Futurists declared their work to be completely original.
Dynamism of Bodies in Motion The Futurists were particularly excited by the works of late 19th-century scientist and photographer tienne-Jules Marey, whose chronophotographic (time-based) studies depicted the mechanics of animal and human movement.
A precursor to cinema, Mareys innovative experiments with time-lapse photography were especially influential for Balla. In his painting Dynamism of a Dog on a Leash, the artist playfully renders the dog's (and dog walker's) feet as continuous movements through space over time. Giacomo Balla, Dynamism of a Dog on a Leash, 1912, oil on canvas, 35 1/2 x 43 1/4 " (Albright-Knox Art Gallery, Buffalo)
Entranced by the idea of the dynamic, the Futurists sought to represent an objects sensations, rhythms and movements in their images, poems and manifestos. Such characteristics are beautifully expressed in Boccionis most iconic masterpiece, Unique Forms of Continuity in Space (see above).
The choice of shiny bronze lends a mechanized quality to Boccioni's sculpture, so here is the Futurists ideal combination of human and machine. The figures pose is at once graceful and forceful, and despite their adamant rejection of classical arts, it is also very similar to the Nikeof Samothrace. Nike of Samothrace, marble, c. 190 B.C.E. (Louvre, Paris)
Politics & War Futurism was one of the most politicized art movements of the twentieth century. It merged artistic and political agendas in order to propel change in Italy and across Europe. The Futurists would hold what they called serate futuriste, or Futurist evenings, where they would recite poems and display art, while also shouting politically charged rhetoric at the audience in the hope of inciting riot. They believed that agitation and destruction would end the status quo and allow for the regeneration of a stronger, energized Italy.
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Onitsuka Tiger x The Other Tribe – ‘My Town, My Tracks’
Pioneering both in terms of performance and design, Onitsuka Tiger produces shoes which are consistently contemporary yet undeniably classic. Inspired by the trends of the past whilst retaining a cutting-edge reputation, the visual influence of their shoe designs call to mind the urban landscapes married with traditional craftsmanship in an arresting aesthetic coalition of heritage and futurism.
The AW13 collection, which features shoes for everyday wear is as distinctive and fresh as one would expect, with diverse design details and multiple colourways. The asymmetric, irregularly laced HARANDIA is a modern winner as the first Onitsuka Tiger shoe to incorporate GEL technology, whilst the retro-infused ULT-RACER is an inspired interpretation of the iconic Ultimate 81 style.
Its campaign reflects an essence of artistic flair coupled with individuality. A series of short promotional films entitled My Town, My Tracksfollows captivating people on a journey through their own urban environments and cites the influences and inspirations their respective neighbourhoods have had on them.
The Other Tribe, a young six-piece from Bristol, are an effervescent dance act melding irrepressible indie with infectious club tracks to create ebullient, feel good music. Here they take us on a journey around their incredible town; the venues where they got their first breaks, the coffee shops where theyve hung out, and the vintage shop where they buy their flamboyant stage gear. My Town, My Tracks presents the port city of Bristol - itself bursting with a robust historical legacy and forward-thinking creativity - through the eyes of The Other Tribe.
Join us on this true insiders tour.
Watch the teaser below.
To view the full video click here.
Words: Anna Wilson
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Why Spike Jonze’s New Film Her Might Put Men Back Into High-Waisted Pants
Spike Jonze's new film Her, about a man (Joaquin Phoenix) who falls in love with his Siri-like OS (voiced by Scarlett Johansson), takes place in a future devoid of hovercars and shiny jumpsuits; instead,the minimalist look of the film feels like a carefully curated throwback, best exemplified by the old-fashioned, high-waisted pants worn by Phoenix and other male characters. "Have you ever worn high-waisted pants?" asks Jonze with a grin. "When we were doing wardrobe fittings, I tried them on, and I was like, 'Oh, these feel good! They feel kinda like you're being hugged."
Call it retro-futurism, a style scheme that filmmakers sometimes employ to make their futuristic worlds feel more persuasive like in the 1997 film Gattaca, which was set decades into the future but costumed its characters in sleek, timeless forties fashions. The past, then, can serve as the secret ingredient when imagining an onscreen future that will never seem dated, a world totally unmoored from the present in which it was conceived.
We really don't need to show it's the future by putting people in crazy-shaped hats or epaulets, explains Casey Storm, Jonzes longtime costume designer, who huddled with artists like Jonze, production designer K.K. Barrett, and Opening Ceremony co-founder Humberto Leon when designing the look of Her. When we were making rules for this world we created, we decided that it would be better to take things away rather than add them. When you add things that aren't of this era, you wind up noticing them and it becomes really distracting, so our rules were more like, there won't be any denim in this film, there won't be any baseball hats, there won't be any ties or belts. Even lapels and collars will almost disappear. I think the absence of those things creates a unique world, but you can't quite put your finger on why that is.
And to hear Storm tell it, emulating those uncomplicated, retro looks is something were already starting to do. Dip into present-day Williamsburg, for example, and youll see plenty of young men with long Civil War beards who brew their own beers and stock their iPhone 5s with the latest fiddle-heavy chart toppers, a vivid mishmash of old and new. For people who aren't sure about how much they want to embrace that technology, the reaction might be to go in the other direction and start finding comfort in things from time periods gone by, says Storm, who reached back more than a century for Her: The tapered-leg, high-waisted pants that Phoenixs Theodore wears are based on a mid-1800s pair that Storm found in a costume shop, and even the characters name is retro, since Jonze conceived it with turn-of-the-century president Theodore Roosevelt in mind.
For certain scenes, Storm outfitted Phoenix with collarless shirts straight out of his closet, and he admits of the films retro-futurist look, I think maybe I myself had been trending that way anyway, in pieces here and there. Now that the chic boutique Opening Ceremony has introduced a capsule collection inspired by Storms work on the film, he predicts that the high-waisted mens look will start going mainstream. I think that is coming for sure, and other forward-thinking fashion people are probably just about to start heading in that direction, Storm says. If this film gives Humberto the opportunity to do a collection that people notice, it probably moves that trend forward a little bit faster.
But is that past-the-navel pant a style that Storm himself would rock? I actually own a pair of pants that we made on the film, he laughs. I took it with me. But I have to say that mine are much sleeker and a little bit more hip than Joaquin's: They've navy wool and real thin and real fitted. It feels good to wear them, but you have to be in kinda good shape, or you look ridiculous. I had been juice-cleansing when we made the movie, so I was real skinny at the time, and yeah, he laughs, they looked good.
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Why Spike Jonze’s New Film Her Might Put Men Back Into High-Waisted Pants
Assassin’s Creed 4 Black Flag Freedom Cry Gameplay Walkthrough Part 5 – Let’s Play (Xbox One/PS4/PC) – Video
Assassin #39;s Creed 4 Black Flag Freedom Cry Gameplay Walkthrough Part 5 - Let #39;s Play (Xbox One/PS4/PC)
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Former minister says Malaysia losing religious freedom – Video
Former minister says Malaysia losing religious freedom
One of Malaysia #39;s former ministers has dismissed the country #39;s image as a moderate nation, saying that it is in fact more like a religious-fascist state. Dat...
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Assassin’s Creed 4: Black Flag «Freedom Cry Live Action» – Video
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Assassin’s Creed IV DLC: Freedom’s Cry playthrough pt15 – Video
Assassin #39;s Creed IV DLC: Freedom #39;s Cry playthrough pt15
This is my playthrough of the first story-based DLC for AC4, Freedom #39;s Cry, with live commentary. http://www.thekingofhate.com http://www.twitch.tv/darksydep...
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