Category Archives: Futurism

[Blender Addon] - Futurism Addon Killed!
There is a way for replace this addon with drivers!!! This technique is interactive.

By: oscurart

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[Blender Addon] - Futurism Addon Killed! - Video

Last time Julian Casablancas debuted new solo material in Los Angeles, he played a four-night residency at the Palace Theatre downtown complete with resplendent moving backdrops and costume changes. This time around, he went a little simpler. Casablancas and his new band The Voidz announced Friday night's show at West Hollywood's 500-capacity Roxy Theatre just two days prior, and it sold out in minutes. Needless to say, those in attendance came ready to party.

What you heard (mostly new material) and what you saw (fuzzy-signal televisions, torn leather and black, stringy hair) carried the motif of post-apocalyptic retro-futurismsimilar to Julian's Phrazes for the Young but with a bit more bite. "Ize of the World"one of only two Strokes songs on the setis a good tonal touchstone for the new material. All this made for a pleasant surprise when Julian announced they'd have a go at an "old classic" and the band strung the opening chords of "Take It or Leave It," a song that has proven to retain its power and relevance over the years (the video of The Strokes performing it on Letterman for their network television debut is worth a Google).

Some may say that the golden age of The Strokes is behind us, but regardless of how you feel about the most recent output from the once (and future?) kings of rock, their commander-in-chief has always been more concerned with a different age, and what this new endeavor shows is that Casablancas, unlike so many others, refuses to repeat himself. His tireless pursuit of the Next and the New may not be popular, but he's pushing the ball forward, and for that we should be grateful.

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News : LIVE: Julian Casablancas and The Voidz Showcase New Material at The Roxy

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Utopia is one of the most loaded words in the English language. Utopia is perfection; utopia is unachievable; utopia is no place. Which is precisely what makes it so interesting. And why this week Gizmodo is taking a look at all things utopian.

Utopian thinking also happens to be the backbone of futurism. Why bother with half-measures? Why aspire to anything less than an ideal society? You may never achieve it on Earth, but that shouldn't stop you from trying, right? It's one of the most dismissive words we have at our disposal, and yet earnest utopian thinking is alive and well. It's a sign that people still have some kind of hope; some degree of faith that things can be better.

Cryptocurrencies like Bitcoin are believed to be a stepping stone to a free-market utopia. Some people think driverless cars are the key to a transportation utopia. Asteroid mining, building cities at sea, the prospect of living forever; these ideas are not new, but they're as popular as ever. And they all spring from this utopian drive to improve things in whatever special way we see as most crucial to our health and happiness on Earth. Sometimes people even advocate leaving Earth to find it.

From technological utopias to architectural ones; from yesterday's utopias to tomorrow's, this week we'll be exploring utopia in its many forms. Don't be surprised if they don't all seem like your idea of heaven; one person's utopia is almost always another person's dystopia.

You can find all of our Utopia Week posts here.

Image: 1975 illustration of a futuristic space colony for NASA by Don Davis

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It's Utopia Week at Gizmodo

FUTURISM CAUSE - vine
In 1909, Futurism was developed in Italy as a reaction against so-called artistic "classics". Futurists #39; intent was to liberate Italy from the weight of its ...

By: Tanner Low

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FUTURISM CAUSE - vine - Video

PASADENA, Calif. Documentarian Morgan Spurlock has focused his cameras on everything from the fast food industry to education. The new season of his CNN series, Morgan Spurlock Inside Man, will deal with such broad topics as celebrity, futurism, pets in America, income inequality and college athletes.

Long before the public gets to see his work told through a serious investigative look accented with his dry sense of humor the process starts with an idea.

When the show got greenlit for a second season, we already had a list of things that we wanted to talk about. Its stuff we pull out of the headlines, newspapers, news reports, magazines. You name it, Spurlock says. We have a list of 10 to 12 ideas that we say to the network that they are the ones we are thinking about.

The network selects ideas they like. Then Spurlock and his team pick the ones they want to do. Once theres a general agreement, research starts to flesh out the ideas. The eight topics that show the most potential go into production.

He knows his stories will be seen around the world through the global news channel, but the one key element he keeps in mind when selecting topics is finding stories that primarily impact an American audience. Many people told him that a story on immigration in the first season of the CNN series didnt affect most Americans, but he showed how it touches the country by looking at the food a person buys.

What I wanted to do with this series is to get people to connect the dots to see how they are affected by these stories, Spurlock says.

It was 10 years ago that Spurlock made national news with his Oscar-nominated film Super Size Me, a documentary about the ill effects he suffered eating a diet of only McDonalds fast food. His first TV series was as executive producer of the FX series 30 Days, where he embedded himself with his subjects for a month. Spurlock also directed the 3-D concert film One Direction: This Is Us.

Once the ideas are in place whether it be for film or TV the final product will almost always be different than what was originally discussed.

When I was making Super Size Me years ago, a filmmaker friend of mine gave me some advice. He said if the movie that I end up with is the exact same movie you envisioned from the beginning, then you didnt listen to anybody along the way, Spurlock says. Whenever we film an idea in a perfect world if everyone had rainbows and unicorns it would work out the most perfect way possible.

Then you start shooting and everything gets thrown out the window because everything you have written down doesnt happen. Things go in a very direction so you have to go with the way the story takes you.

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Morgan Spurlock begins second season as CNN's 'Inside Man'

FUTURISM (1909) - vine
Futurism glorifies ideologies of an imagined, mechanized future. Futurists value speed, technology, violence, automobiles and youth.

By: Tanner Low

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FUTURISM (1909) - vine - Video

Romanism and the Reformation - dispelling Futurism based on Prophecy
Part 01 from the book read on my second Youtube channel: https://www.youtube.com/watch?v=EH9vu9H69Fc feature=youtu.be Book read here: http://granddesignexpos...

By: joggler66

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Romanism and the Reformation - dispelling Futurism based on Prophecy - Video

Future-University Futurology Futures-Studies Futurism - The Big Thing (part 2)
all about futures-sciences to science-fiction.

By: Roman Retzbach

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Future-University Futurology Futures-Studies Futurism - The Big Thing (part 2) - Video

Release Date: April 8, 2014 Label: Olsen

For the last decade, Oslo DJ/producer Todd Terje has indulged scholarly fetishes for '60s lounge music, '70s disco/prog/jazz-fusion, '80s TV show themes, and '90s electronica, yet his buoyant output resists the weight of history: The dude rocks a party with rollicking flair. He's got the sensibility to impress serious music heads his 2012 EP It's the Arps was performed exclusively on vintage ARP synths, the sort favored by '70s jazzbos yet his sunny mutant grooves remain fundamentally fun. While much EDM keeps getting more automated and commoditized, Terje's countless singles, EPs, remixes, and re-edits have grown more articulated, better played, and, most importantly, increasingly individuated: Terje's particular house music emphasizes its humanity.

With one notable exception, his long-awaited long-playing debut It's Album Time is solely instrumental, but always feels as though Terje [pronounce it Terr-YEAH] is singing via his sounds. His compositional voice is playful, but exacting, like an eccentric, joke-cracking professor who nevertheless schools well. On track after track, Terje dances to his own drum not in that hokey put-your-hands-in-the-air way, but as if pop-locking breakdance kids had hooked up with Bob Fosse's Broadway babies to reinvent the funky robot for the 21st century.

Like Daft Punk, Terje looks to the past's version of futurism to transcend today's numbed-out consensus beats. "Intro (It's Album Time)" sets the tone with a sci-fi title sequence's sense of expectation and wonder as multiple synths tinkle, twitter, and ultimately soar to the heavens. He comically undercuts this auspiciousness with "Leisure Suit Preben," which starts out lumbering with a trudging synth bassline and scattered wah-wah quacks but suddenly turns lyrical and foreboding, as if a femme fatale had ensnared our spy hero. The harmonies grow lush and overripe, delightfully evoking a bygone European soundtrack composer's florid impression of African-American jazz not the real thing, for Terje never forgets that he's generations and oceans removed from his sources. With "Preben Goes to Acapulco," he sends his homegrown protagonist hustling south of the border via '70s-squeaky synths and tightly wound syncopations.

In the credits, Terje lists his equipment with a gearhead's glee "ARP 2600 with St. Eric Mods" (an old synth refurbished by a contemporary Dutch lab), "NI Abbey Road Drums" (new drum software engineered to sound old), and "my brother's double bass." He's both analog and digital, synthetic and acoustic, and playing most everything himself, but the result still swings. Taking a tip from his countrymen in Mungolian Jetset, he offsets psychedelic quirks with dazzling technique on "Svensk SAS," which features layers of scatting grunts intertwined with a deliriously tropical melody.

Terje's inspirations may largely be retro, but he's one of the leading lights of a current Scandinavian scene that's essentially neo-Balearic the 21st century version of '80s Ibiza's melodic, anything-goes DJ approach, the one that thrived before Brit jocks colonized the Spanish Mediterranean island. It's this dubby but joyous vibe that he brings to his fleet-footed numbers. He even calls one "Oh Joy," which re-imagines synth icon Jean Michel Jarre with a hi-NRG makeover. For three minutes he teases a suspenseful, sequencer-driven build out of keyboards soloing in harmony like the Miami Vice version of Thin Lizzy. Then, finally, those Abbey Road drums enter, and the rest just rockets into dancefloor ecstasy once again proving that as nerdy as Terje gets, the guy can jam the fuck out.

He nevertheless hedges his bets on It's Album Time by rightfully including some single and EP tracks that deserve a broad audience, one that doesn't collect pricey import 12"s and scattered mp3s. It's the Arps's "Inspector Norse" and both parts of "Swing Star" reappear in slightly tweaked form along with a condensed edit of last year's "Strandbar" that judiciously reduces its "disko" mix's nagging piano chords, thereby maximizing their impact. New cuts "Delorean Dynamite" and "Alfonso Muskedunder" strike with similar stealth: Terje spices up the former's space disco motif by riffing Nile Rodgers-style on his Fender Tacocaster (yes, that's a real guitar). On the latter's speedy samba, he lets his multi-instrumentalist skills fly and nimbly recreates the wordless vocal razzmatazz of bygone sibling harmony group the Free Design.

Nearly every EDM pan-flasher has launched their debut disc with a teen-accessible vocalist, typically with crass results. Terje takes the high road by enlisting Bryan Ferry, whose solo and Roxy Music classics he's already remixed. But whereas his re-imaginings of "Don't Stop the Dance" and "Love Is the Drug" emphasize rhythmic uplift, Ferry and Terje's cover of late crooner Robert Palmer's originally spritely "Johnny and Mary" is so willfully lethargic it resists both club and radio play.

Palmer's depiction of a woefully mismatched couple is that singer's career highlight, a canny distillation of the doomed love games Ferry still embodies. Here, the 68 year-old Casanova whispers it with a vocal apparatus so worn by cigarettes, late nights, and a bajillion supermodels that he can barely sigh the air out of his lungs. Terje casts Ferry in what feels like a Fellini dream sequence playing at a nightmarish fraction of its intended speed, as if Marcello Mastroianni can no longer leave his bed, much less lure vixens to it. Terje can make an aging gigolo's commentary on the folly of his misspent youth the centerpiece of his otherwise invigorating dance album because he's the rare crowd-pleasing DJ whose musical skills trump his proven ability to move butts.

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Damn Right 'It's Album Time': House Whiz Todd Terje Drops a Booty Bomb

NVidia Shield PPSSPP DJ Max Futurism

By: Deenox Don

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NVidia Shield PPSSPP DJ Max Futurism - Video