Category Archives: Futurism

Its now larger than 75 percent of the previous years holes.Looming Problem

Whelp, the hole in the ozone layer is as big as ever.

Scientists with the Copernicus Atmosphere Monitoring Service announced that the hole in the ozone layer over the South Pole is now larger than Antarctica, according to a press release from the organization. Researchers say that the hole has grown considerably in the past two weeks, and is currently larger than 75 percent of holes in the ozone layer since 1979.

[The hole] seems pretty similar to last years, which also wasnt really exceptional until early September, but then turned into one of the largest and longest-lasting ozone holes in our data record later in the season, said Copernicus director Vincent-Henri Peuch in the press release. Now our forecasts show that this years hole has evolved into a rather larger than usual one.

The ozone layer plays a crucial role in protecting the Earth from the Suns UV radiation, which can harm terrestrial crops and animals. Increased UV light has also been linked to skin cancer and cataracts in humans, according to the US Environmental Protection Agency.

However, the layer has been depleted over the years due to chlorine and bromine atoms in the air that destroy ozone molecules. Each year, when temperatures in the South Pole warm during Antarctic spring, these harmful atoms deplete the layer even more causing an annual opening of the ozone layers hole.

While the hole is as big as ever, Copernicus scientists believe that the layer is recovering due to environmental regulations such as the Montreal Protocol, which began regulation of chlorine and bromine chemicals in 1987. However, they estimate the layer wont completely recover until the 2060s or 2070s, reports CNN.

Until then, we imagine that scientists are a mix of on edge and also tired of having to report on the size of the ozone hole. If only our world governments and big corporations that vastly contribute to climate change could do literally anything about it.

READ MORE: The ozone hole over the South Pole is now bigger than Antarctica [CNN]

More on the Antarctic issues: Watch a Floating, 500 Square Mile Iceberg Nearly Crash into Antarctica

Futurism Readers: Find out how much you could save by switching to solar power at UnderstandSolar.com. By signing up through this link, Futurism.com may receive a small commission.

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There's a Hole in the Ozone Layer Bigger Than Antarctica, Scientists Sigh - Futurism

American poet Moor Mother has proven herself to be one of the country's most unique artists over the past few years. After growing up in Maryland, Moor Mother moved to Philadelphia where she eventually started her poetry and music career. After releasing her debutFetish Bones in 2016, the artist has always been known for experimenting with jazzy and industrial sounds while offering up some incredible poetry that touches on a plethora of topics. In recent years, Moor Mother has shifted from spoken word rap to more traditional flows, and fans are taking notice. This shift is particularly evident on the albumBlack Encyclopedia Of The Air, which can be streamed below.

As you make your way through the tracklist, you will immediately get a true sense of Moor Mother's artistry as each line is deliberate and thought-provoking. The imagery is something to behold and if you naturally gravitate to more poetic forms of hip-hop, then this album is for you.

Let us know what you think, in the comments below.

Tracklist:

1. Temporal Control Of Light Echoes2. Mangrove (ft. Elucid, Antonia Gabriela)3. Race Function Limited (ft. Brother May)4. Shekere (ft. Iojii, Sayduh Ruz)5. Vera Hall (ft. BFLY)6. Obsidian (ft. Pink Siifu)7. Iso Funk8. Rogue Waves9. Made A Circle (ft. Nappy Nina, Maassai, Antonia Gabriela, Orion Sun)10. Tarot (ft. Yatta)11. Nighthawk Of Time (ft. Black Quantum Futurism)12. Zami13. Clock Fight (ft. Elaine Mitchener, Dudu Kouate)

The rest is here:
Moor Mother Offers Psychedelic Sounds On New Album "Black Encyclopedia Of The Air" - HotNewHipHop

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, and the industrial city. 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. Its key figures were the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carr, Gino Severini, Giacomo Balla, Antonio Sant'Elia, Bruno Munari, Benedetta Cappa and Luigi Russolo, the Russians Natalia Goncharova, Velimir Khlebnikov, Igor Severyanin, David Burliuk, Aleksei Kruchenykh and Vladimir Mayakovsky, the Belgian Jules Schmalzigaug and the Portuguese Almada Negreiros. It glorified modernity and aimed to liberate Italy from the weight of its past. Cubism contributed to the formation of Italian Futurism's artistic style. Important Futurist works included Marinetti's Manifesto of Futurism, Boccioni's sculpture Unique Forms of Continuity in Space, and Balla's painting Abstract Speed + Sound (pictured). 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. 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 Saturday 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.

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). 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."

This is a part of the Wikipedia article used under the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA). The full text of the article is here

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Artists by art movement: Futurism - WikiArt.org

What does it mean to have enough time?

From a Western viewpoint, time is a linear construct. It started at some point in the past, it will end at some point in the future, and our lives are an inexorable march from one end of the arrow to the other. But in many West African cultures, time is much more circular the Kiswahili word Sasa refers to a broader present, and Zamani, an ocean of time that all things flow into.

And importantly, if an ancestors memory is still alive, that means they are still present in the Sasa.

All these cultural concepts are on display in Ancestors returning again / this time only to themselves, an incredible immersive art installation from Black Quantum Futurism. The question of time what it means, how we move through it, and whether we can ever have enough of it permeates the entire experience. This mixed-media exhibition at Brewerytowns Hatfield House closes on Sunday.

READ MORE: New Afrofuturism exhibit at Hatfield House explores time travel and storytelling forms

Staff reporter Cassie Owens and I, an interactive developer here at The Inquirer, talk about ancestors and time all the time. We took an afternoon to move through the installation and share the thoughts, feelings, and impact that it left. This conversation has been edited for length and clarity.

Cassie Owens: Whats coming up for you right now?

Dain Saint: Wow. So we published the Wildest Dreams this week, which was titled after that saying, We are our ancestors wildest dreams. It took nearly a year from conception to release, but we finally got to publish it! After this, Im going to go and work on my show, called freedom is nonnegotiable, that I wrote while processing everything that happened in 2020. And all of these projects deal with this question of what did we receive from our ancestors, and what will we leave behind?

Its funny, I was going to record thoughts on my phone as we were walking through, and I quickly realized Oh, thats not gonna work. It was like the experience was saying, Youre supposed to stay in the present. It was just profoundly moving. Octavia Butler would be proud. Im kind of still processing [how it portrayed] what quantum entanglement feels like.

Owens: When I was watching the film, I sort of was getting caught up in the realization that so many rituals not all rituals, but so many across cultures do have to do with time. If youre celebrating the harvest, if you are celebrating the birthday of a deity or a saint, if you are celebrating someone going to the prom or about to have they graduation these are markers of time and milestones. And it made me feel like I was smack dab in the middle of a ritual of time not existing and time not being real.

Saint: Yeah.

Owens: And it just sort of really immediately was like, Oh snap.

[Upstairs] there was Im gonna call it an invitation It was some text that was in a collage on the second floor, that basically was encouraging [visitors to] take one of the past thoughts that you have reversed and walk into it as if it is unfamiliar, as if you are experiencing it for the first time. Just that invitation made me think about, like, how much time do I spend revisiting past thoughts outside of the context of trauma.

Saint: Yeah, that makes me realize that, outside of the context of trauma maybe this is a common experience, but I think Im a lot better at ruminating than reminiscing. And thats something that Ive been really thinking about. Why is it so much easier for me to sit in a painful memory, than it is for me to enjoy a joyful one?

READ MORE: Are you thinking about time right now? For Black Futures contributor Rasheedah Phillips, its a lifelong pursuit.

Saint: There was a description of Black Quantum Futurism up there as creating a Black space outside of Greenwich Mean Time, and I really appreciated that idea. The thing that struck me really was it felt like, Here is a way for you to create more time. And thats a question weve had as Black people, like, Will there be enough time? Will we have enough time? We have cousins that are no longer here. Did they get enough time? Our histories, our stories, our cultures, you know, tribes that we belonged to that we no longer remember are all kind of subsumed under this mechanistic Greenwich Mean Time. Which is an excellent metaphor for how England and Western culture declared themselves the center of our universe, right? Even just trying to get here today, we were worrying. Will we have enough time to take in the exhibit? Will we have enough time to process our thoughts?

It really felt like an invitation to say, like, time is abundant. And not everything is going to happen in sequence. Not everything is gonna happen one after the other. And if you stop thinking about time as a linear story, youll have as much of it as you need.

Owens: I think that something that also stuck with me was the line, only we/us can touch our grandmothers face. Im very, very, very fortunate to have both of my grandmothers still alive. But I am also very unfortunate to have lost a lot of my loved ones. And I think sometimes I worry that I might not remember their face the way that you remember it [when theyre physically here.]

Not that you forget what they look like, right? Not that you lose access to the photos. But sometimes even the grief can kind of fade the picture in your mind. [Being inside the exhibition] was reminding me that, you know, your ancestors are in you. You cant exactly forget that, even if you dont know all of them. And it made me feel like, when we tap into our memories of who our ancestors were and are, that that is something that is just ours. I mean, its a work that no one can take from you.

Saint: Yeah, its not a resource, to be exploited or something like that; its just written in us.

I just lost my grandmother a few weeks ago, and I was worried for a while, because she had been on the decline for so long I was worried that when I think of her I will remember her face on the decline. I was really worried about that, and thats not the case. I remember her in the kitchen, I remember making cakes and all of that. I just watched that new Matrix trailer, and one of the things that always struck me from that series is this idea of your Residual Self Image, where no matter what is going on in the real world, theres this internal image of yourself that you hold on to. And I have her Residual Image that Im holding on to. And Ancestors really validates that as just as real, if not more so, in a sort of cosmic sense. Remember the whole thing, her whole life, and all of it is real.

I think it was Louis XIII that did a movie where they filmed an ad, and its sealed in a vault, and no ones gonna watch it for a hundred years. So none of the people that are even attached to the project are ever going to see this film. So why do it? Why do anything that outlives us? [Because we understand] that we are not the end of the story, that in the future somebodys going to look back, and were trying to have a conversation with them. And I just think theres something really beautiful about the way Ancestors portrayed that conversation.

Owens: To your point about the exhibition feeling like being about a way to create more time, I was really moved by them putting so many clocks in the time capsule right, almost like literally sending more time or sending time, you know?

Saint: Yeah.

Owens: It made me think about how, you know, a lot of time with different things in Black culture, there are so many things that different generations associate themselves with really strongly, especially when it comes to aesthetics and, you know, fashion and music and all of that. But this, like not sending any of those type of relics into the time capsule, really, I feel like it was challenging me to think about how there is a time capsule that isnt actually aspiring to, like you said, tell the future who we were, but that there can be a time capsule that actually just makes it clear that we have always been.

Saint: Yes. I feel like, now, especially after the last two years, theres a sense of impermanence to everything.

And especially as Black people, thats really hard because you see how many futures have been taken from us. And theres something about this exhibit that is like, hey, remember, nothing is permanent, but also, nothing is truly gone.Just creating more time, creating more and more space in which to exist, and expanding our conception of our own existence, and our past.

Ancestors returning again / this time only to themselves is on display at the Hatfield House through Sept. 19. Admission is free.

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Traveling through time with Black Quantum Futurisms ancestral exhibit - The Philadelphia Inquirer

Lazy-load Rails partials via CableReady

BREAKING CHANGE: With v1.0, futurism has been transferred to the stimulusreflex organization. Please update your npm package to @stimulus_reflex/futurism accordingly

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