Category Archives: Futurist

Futurist architecture is an early-20th century form of architecture born in Italy, characterized by anti-historicism, strong chromaticism, long dynamic lines, suggesting speed, motion, urgency and lyricism: it was part of the Futurism, an artistic movement founded by the poet Filippo Tommaso Marinetti, who produced its first manifesto, the Manifesto of Futurism in 1909. The movement attracted not only poets, musicians, and artists (such as Umberto Boccioni, Giacomo Balla, Fortunato Depero, and Enrico Prampolini) but also a number of architects. A cult of the machine age and even a glorification of war and violence were among the themes of the Futurists (several prominent futurists were killed after volunteering to fight in World War I). The latter group included the architect Antonio Sant'Elia, who, though building little, translated the futurist vision into an urban form.[1]

In 1912, three years after Marinetti's Futurist Manifesto, Antonio Sant'Elia and Mario Chiattone take part to the Nuove Tendenze[3] exhibition in Milano. In 1914 the group presented their first exposition with a "Message" by Sant'Elia, that later, with the contribution of Filippo Tommaso Marinetti, became the Manifesto dellArchitettura Futurista ("Manifesto of Futurist Architecture").[2] Also Boccioni unofficially worked on a similar manifesto, but Marinetti preferred Sant'Elia's paper.

Later in 1920, another manifesto was written by Virgilio Marchi, Manifesto dellArchitettura FuturistaDinamica ("Manifesto of Dynamic Instinctive Dramatic Futurist Architecture").[2]Ottorino Aloisio worked in the style established by Marchi, one example being his Casa del Fascio in Asti.

Another futurist manifesto related to architecture is the Manifesto dellArte Sacra Futurista ("Manifesto of Sacred Futurist Art") by Fillia (Luigi Colombo)[2] and Filippo Tommaso Marinetti, published in 1931. On 27 January 1934 it was the turn of the Manifesto of Aerial Architecture by Marinetti, Angiolo Mazzoni and Mino Somenzi.[2] Mazzoni had publicly adhered to futurism only the year before. In this paper the Lingotto factory by Giacomo Matt-Trucco is defined as the first Futurist constructive invention.[2] Mazzoni himself in those years worked on a building considered today a masterpiece[4] of futurist architecture, like the Heating plant and Main controls cabin at Santa Maria Novella railway station, in Florence.

The Art Deco style of architecture with its streamlined forms was regarded as futuristic when it was in style in the 1920s and 1930s. The original name for both early and late Art Deco was Art Modernethe name "Art Deco" did not come into use until 1968 when the term was invented in a book by Bevis Hillier. The Chrysler Building is a notable example of Art Deco futurist architecture.

After World War II, Futurism is considerably weakened and redefined itself thanks to the enthusiasm towards the Space Age, the Atomic Age, the car culture, and the wide use of plastic. For example, this trend is found in the architecture of Googies in the 1950s in California. Futurism in this case is not a style, but a rather free and uninhibited architectural approach, which is why it was reinterpreted and transformed by generations of architects the following decades, but in general it includes amazing shapes with dynamic lines and sharp contrasts, and the use of technologically advanced materials.

In the 1980s, French architect Denis Laming, was one of the members of this movement and founder of Neo-Futurism. He designed all of the buildings in Futuroscope, whose Kinemax is the flagship building.[5]

In popular literature, the term futuristic is often used without much precision to describe an architecture that would have the appearance of the space age as described in works of science fiction or as drawn in science fiction comic strips or comic books. Today it is sometimes confused with blob architecture. The routine use of the term vague and futurismwhich rarely has political implicationsmust be well differentiated from the Futurist movement of the years 19101920. The futurist architecture created since 1960 may be termed post-modern futurism.

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Elon Musk and Daryl Oster, competing for what could become the worlds largest infrastructure project

When Tesla Motors CEO, Elon Musk, mysteriously leaked that he was working on his Hyperloop Project, the combination of secrecy, cryptic details, and his own flair for the dramatic all contributed to the media frenzy that followed.

Leading up to this announcement was his growing anxiety over Californias effort to build a very expensive high-speed rail line between Los Angeles and San Francisco with outdated technology.

While the Musk media train was picking up steam, several reporters pointed out a similar effort by Daryl Oster and his Longmont, Colorado-based company, ET3, to build a comparable tube transportation system that was much further along.

Indeed both are working on what will likely be the next generation of transportation where specially designed cars are placed into sealed tubes and shot, much like rockets, to their destination. While high-speed trains are breaking the 300 mph speed barrier, tube transportation has the potential to make speeds of 4,000 mph a common everyday occurrence.

As Daryl Oster likes to call it, space travel on earth.

Even though tube travel like this will beat every other form of transportation in terms of speed, power consumption, pollution, and safety, the big missing element is its infrastructure, a tube network envisioned to combine well over 100,000 miles of connected links.

While many look at this and see the lack of infrastructure as a huge obstacle, at this point in time it is just the opposite, the biggest opportunity ever.

Constructing the tube network will be the biggest infrastructure project the earth has ever seen, with a projected 50-year build-out employing in excess of 100 million people along the way. But in addition to these impressive projections, theres far more at stake than just jobs and superfast transportation. Heres why.

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Futurist Speaker website

Why does it seemthat American society is in decline, that fairness and decorum are receding, that socialism and tyranny are becoming malignant despite the majority of the public being averse to such philosophies, yet the true root cause seems elusive? What if everything from unsustainable health care and social security costs, to stagnant wages and rising crime, tocrumbling infrastructure and metastasizing socialism, to the economic decline of major US cities like Detroit, Cleveland, Pittsburgh, and Baltimore, could all be traced to a common origin that is extremely pervasive yet is all but absent from the national dialog, indeed from the dialog of the entire Western world?

Today, on the first day of the new decade of '201x' years, I am going to tell you why that is. I am herebytriggering the national dialog on what the foremost challenge for the United States will be in this decade, which is the ultimate root cause of most of the other problems we appear to be struggling with. What you are about to read isthe equivalent of someonein 1997 describing theexpected forces governing the War on Terror from 2001-2009in profound detail.

This is a very long article, the longest ever written on The Futurist.As it is a guide to the next decade of social, political, and sexual strife, it is not meant to be read in one shot but rather digested slowly over an extended period, with all supporting links read as well. As the months and years of this decade progress, this article will seem all the more prophetic.

Executive Summary : The Western World has quietly become a civilization that undervalues men and overvalues women,where the stateforcibly transfers resources from men to women creating various perverse incentives for otherwise good women to conduct great evil against men and children, and where male nature is vilified but female nature is celebrated. This isunfair to both genders, and is a recipe for a rapid civilizational decline and displacement, the costs of which will ultimately be borne by a subsequent generation of innocent women, rather than men, as soon as 2020.

The Cultural Thesis

The Myth of Female Oppression : All of us have been taught how women have supposedly been oppressed throughout human existence, and that this was pervasive, systematic, and endorsed by ordinary men who presumably had it much better than women. In reality, this narrative is entirely fabricated. The average man was forced to risk death on the battlefield, at sea, or in mines, while most women stayed indoors tending to children and household duties. Male life expectancy was always significantly lower than that of females, and still is.

Warfare has been a near constant feature of human society before the modern era, and whenever two tribes or kingdoms went to war with each other, the losing side saw many of its fighting-age men exterminated, while the women were assimilated into the invading society. Now, becoming a concubine or a housekeeper is an unfortunate fate, but not nearly as bad as being slaughtered in battle as the men were. To anyone who disagrees, would you like for the men and women to trade outcomes?

Most of this narrative stems from 'feminists' comparing the plight of average women to the topmost men (the monarch and other aristocrats), rather than to the average man. This practice is known as apex fallacy, and whether accidental or deliberate, entirely misrepresents reality. To approximate the conditions of the average woman to the average man (the key word being 'average') in the Western world of a century ago, simply observe the lives of the poorest peasants in poor countries today. Both men and women have to perform tedious work, have insufficient food and clothing, and limited opportunities for upliftment.

As far as selective anecdotes like voting rights go, in the vast majority of cases, men could not vote either. In fact, if one compares every nation state from every century, virtually all of them extended exactly the same voting rights (or lack thereof) to men and women. Even today, out of 200 sovereign states, there are exactly zero that have a different class of voting rights to men and women. Any claim that women were being denied rights than men were given in even 0.1% of historical instances, falls flat.

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The Futurist: The Misandry Bubble

"PHONE PHOBIA"=A BLUR MILESTONE-GOT MY FIRST CELL PHONE(THE MOST PRIMITIVE *FUTURIST*ALIVE)
I #39;m the most primitive *FUTURIST* ALIVE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

By: BLUR #39;Z "COMPLETELY COMPLICATED" LIFE DOCUMENTARY-2000 VIDEOS GOAL

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"PHONE PHOBIA"=A BLUR MILESTONE-GOT MY FIRST CELL PHONE(THE MOST PRIMITIVE *FUTURIST*ALIVE) - Video

Headbanger - Dark Impulses (Angerfist Refix)
Artist: Headbanger - Track: Dark Impulses (Angerfist Refix) - Vinyl: The Remixes Vol. 3 - Label: Megarave Records - Year: 2008.

By: Futurist HC

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Headbanger - Dark Impulses (Angerfist Refix) - Video

Futurist Anders Sorman-Nilsson: Tech Report on Sky News Business / Top 5 Business Apps
In this interview, global futurist Anders Sorman-Nilsson is interviewed on the Tech Report on Sky News Business on the Top 5 Apps to Manage Your Business Whi...

By: Anders Sorman-Nilsson

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Futurist Anders Sorman-Nilsson: Tech Report on Sky News Business / Top 5 Business Apps - Video

Kanye is a FUTURIST
This is the message that I took from Mr. West the college dropout.

By: HotDude303

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Kanye is a FUTURIST - Video

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 - Wikipedia, the free encyclopedia

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

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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