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PostHuman by @coledrumb | Sci Fi Animated Short Film
Posted: December 23, 2013 at 5:41 am
Set in an adrenalized future of espionage, assassins, and out of control super science, PostHuman follows a genius hacker and his dog as they help an enigmatic young woman to free the remaining test subject of a black ops ESP test lab.
From America to Japan and back to Americaoh the nostalgia.Taking classic cyberpunk archetypes and filtering them through venerated anime motifs, director Cole Drumb and producer Jennifer Wai-Yin Luk have created a fast-paced, deliciously ultra-violent ode to the best of the genre, something that looks and feels more like the hey-day of Liquid Television than a conventional festival short.
Yet, a festival short it was, winning many awards on the genre circuit as well as popping up at more forward-thinking spots like Seattle International and Tallgrass. I was able to judge it as a member of the panel at the Seattle Science Fiction and Fantasy Film Festival, where its influences and execution set it apart from the competition.
For a 6min action piece, PostHuman does a pretty good job at establishing its world and characters. The fast-talking banter between our genius hacker and enigmatic super-woman is judiciously applied, forwarding the plot but not overdoing it on the exposition. The animation itself is a very polished 2D for an independent project like thisbelieve me, Ive seen many independently done anime ripoffs, and the level of motion here is excellent. Drumb has internalized the style of this type of work as well, rather than simply aping character designthe macro-closeups and angled framings are spot on, as are the gruesome effects of our test subjects telekinesis.
However while we havent seen this kind of work, on this scale, distributed in this way, these ARE well-established elements. Ghost in the Shell, Akiraare undoubtedly influences, even the character design of Terence recalls a more grizzled Ichigo from Bleach.This is of course the central conundrum of the sci-fi calling card shorts that we often feature on this siteshould the novelty of independent production and free web distribution cause us to gloss over a lack of originality? Does something need to result from the resultant publicity in order to justify THIS shorts existence?
At least in this case I dont feel the need judge harshly. As a huge animation fan, there isnt enough big-boob, big gun fare to satisfy me, and the idea of a web series, a TV show, anything that is operating in this storytelling space, is intrinsically exciting. Nothing is announced yet, but be sure to visit the films website to learn how to follow the project as it inevitably evolves.
~
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Futurism : Italian Modern Art Movement – Visual Arts Encyclopedia
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ABSTRACTION For a guide to non-objective art see: Abstract Paintings: Top 100. For a list of styles/periods, see: Abstract Art Movements.
Futurist Painting
The Futurism movement was highly aspirational, though its ideas were neither original nor revolutionary. In general, 20th century painters associated with the Futurist movement worshipped scientific progress, glorifying speed, technology, the automobile, the airplane and industrial achievement. Established traditions were thrust aside in pursuit of victory over nature. When it came to establishing a new Futurist aesthetic, however, a visual idiom with which to express their concerns, Marinetti and the other artists were more hesitant.
To begin with they borrowed the methods of Neo-Impressionism (a general reference to Divisionism), in which forms are broken down into dots and stripes capable of depicting the glitter of light or the blur of high speed movement - see The City Rises (1910-11, Museum of Modern Art, New York) by Boccioni, and Leaving the Theatre (1910-11) by Carlo Carra. Both painters were influenced by Italian Divisionism and the paintings of Vittore Grubicy De Dragon (1851-1920). Following this, Carra and Boccioni visited Severini and Marinetti in Paris (to get a better feel for the avant-garde), where they fell under the influence of analytical Cubism, after which they adopted the methods (fragmented forms, multiple viewpoints, powerful diagonals) of the Cubists - see Dynamic Hieroglyphic of the Bal Tabarin (1912, MoMA NYC) by Gino Severini, as well as his masterpiece Pan-Pan at the Monico (1911-12, original lost, copy in the Pompidou Centre, Paris). Often, Cubist techniques would be combined with urban and political subject matter, often on a large scale - see Funeral of the Anarchist Galli (1910-11, MoMA NYC) by Carlo Carra. Although some Futurist works were relatively static, such as Woman with Absinthe (1911) by Carra, and Matter (1912) by Boccioni, the phenomenon of speed is a constant Futurist theme - see Dynamism of a Dog on a Leash (1912, Allbright-Knox Gallery, Buffalo, USA) by Giacomo Balla. However, Balla eventually went over to abstract art, producing work with no obvious reference to the idea being expressed - see his The Car has Passed (1913, Tate, London). For this kind of geometric abstraction see concrete art.
Futurist Sculpture
In 1912, Umberto Boccioni, the only sculptor among the Futurists, published his own Manifesto - Futurist Painting Sculpture: Plastic Dynamism (Pittura scultura Futuriste: Dinamismo plastico), which expounded his Bergson-type ideas on intuition, inner being and the relationship of form, motion and space. The following year Boccioni produced his masterpiece Unique Forms of Continuity in Space (1913, casts in MoMA New York, Tate London and elsewhere). This work vividly depicts the movement of the body, and illustrates his theory of "dynamism", a theme he also explored in other works like Synthesis of Human Dynamism (1912), Spiral Expansion of Speeding Muscles (1913) and Speeding Muscles (1913).
Exhibitions
Futurist art was first exhibited at a show of modern art in Milan (1911). The first purely Futurist show was in early 1912 at the Galerie Berhein-Jeune in Paris. The show then travelled to the Sackville Gallery London, the Sturm Gallery Berlin, and afterwards to Amerstam, Zurich and Vienna, generating widespread publicity for the movement, thanks largely to Marinetti's promotional flair.
Influence on Contemporary Artists
Italian Futurism had a visible impact on artists across Europe, including the Vorticists in Britain, the Dada movement in Zurich and Berlin, Delaunay's Orphism (Simultanism), Art Deco, American Precisionism, and Surrealism, while futurists in Russia had a strong effect on Rayonism and Constructivism. Russian Futurism began in 1912 with the publication of its manifesto A Slap in the Face For Public Taste. Members included the Russian artists David Burlyuk (1882-1967), Vladimir Mayakovsky (1893-1930), Mikhail Larionov (1881-1964), Natalia Goncharova (1881-1962), Kazimir Malevich (1878-1935) the founder of Suprematism, Velimir Khlebnikov and Alexei Kruchenykh (1886-1968). The movement endured longer in Russia, becoming closely associated with revolutionary politics, and influenced several other Russian art movements.
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Russian Futurism – Wikipedia, the free encyclopedia
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"Russian Futurists" redirects here. For the band, see The Russian Futurists.
Russian Futurism was a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Futurist Manifesto". Russian Futurism may be said to have been born in December 1912, when the Moscow-based literary group Hylaea (Russian: [Gileya]) (initiated in 1910 by David Burlyuk and his brothers at their estate near Kherson, and quickly joined by Vasily Kamensky and Velimir Khlebnikov, with Aleksey Kruchenykh and Vladimir Mayakovsky joining in 1911)[1] issued a manifesto entitled A Slap in the Face of Public Taste.[2] Although Hylaea is generally considered to be the most influential group of Russian Futurism, other groups were formed in St. Petersburg (Igor Severyanin's Ego-Futurists), Moscow (Tsentrifuga, with Boris Pasternak among its members), Kiev, Kharkov, and Odessa.
Like their Italian counterparts, the Russian Futurists were fascinated with the dynamism, speed, and restlessness of modern machines and urban life. They purposely sought to arouse controversy and to gain publicity by repudiating the static art of the past. The likes of Pushkin and Dostoevsky, according to them, should be "heaved overboard from the steamship of modernity". They acknowledged no authorities whatsoever; even Filippo Tommaso Marinettiwhen he arrived in Russia on a proselytizing visit in 1914was obstructed by most Russian Futurists who did not profess to owe him anything.
In contrast to Marinetti's circle, Russian Futurism was primarily a literary rather than plastic philosophy. Although many poets (Mayakovsky, Burlyuk) dabbled with painting, their interests were primarily literary. However, such well-established artists as Mikhail Larionov, Natalia Goncharova, and Kazimir Malevich found inspiration in the refreshing imagery of Futurist poems and experimented with versification themselves. The poets and painters collaborated on such innovative productions as the Futurist opera Victory Over the Sun, with music by Mikhail Matyushin, texts by Kruchenykh and sets contributed by Malevich.
Members of Hylaea elaborated the doctrine of Cubo-Futurism and assumed the name of budetlyane (from the Russian word budet 'will be'). They found significance in the shape of letters, in the arrangement of text around the page, in the details of typography. They considered that there is no substantial difference between words and material things, hence the poet should arrange words in his poems like the artist arranges colors and lines on his canvas. Grammar, syntax, and logic were often discarded; many neologisms and profane words were introduced; onomatopoeia was declared a universal texture of verse. Khlebnikov, in particular, developed "an incoherent and anarchic blend of words stripped of their meaning and used for their sound alone",[3] known as zaum.
With all this emphasis on formal experimentation, some Futurists were not indifferent to politics. In particular, Mayakovsky's poems, with their lyrical sensibility, appealed to a broad range of readers. He vehemently opposed the meaningless slaughter of the Great War and hailed the Russian Revolution as the end of that traditional mode of life which he and other Futurists ridiculed so zealously.
After the Bolsheviks gained power, Mayakovsky's grouppatronized by Anatoly Lunacharsky, Lenin's minister of educationaspired to dominate Soviet culture. Their influence was paramount during the first years after the revolution, until their programor rather lack thereofwas subjected to scathing criticism by the authorities. By the time OBERIU attempted to revive some of the Futurist tenets during the late 1920s, the Futurist movement in Russia had already ended. The most militant Futurist poets either died (Khlebnikov, Mayakovsky) or preferred to adjust their very individual style to more conventional requirements and trends (Aseyev, Pasternak).
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Home – Funeral Futurist
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Robin Heppell Reveals How Any Funeral Home Can Create An Effective Marketing Plan That Gets Results What makes the Be a Funeral Marketing Rock Star conference so different from all the other funeral home marketing events in 2014? This event actually walks attendees through the creation of their funeral home marketing plan from A to Z following the Funeral Marketing Blueprint method. This Blueprint will be unveiled at the Be A Funeral Marketing Rock Star event in February 18, 19 & 20, 2014 at the Planet Hollywood Hotel and Casino in Las Vegas, Nevada. http://www.FuneralRockStars.com/live Las Vegas, Nevada, December 12, [Read More ...]
Join me at Booth # 2241 at the NFDA 2013 Convention in Austin, Texas from October 21 to 23. Watch the video to see what you will get when you pop by the booth to visit. Make sure that you register for your 1 day expo pass and claim your bonus prize (details inside the video). Please let me know which video you like better leave a comment below with #NFDASnappy or #NFDAHonkyTonk Snappy NFDA 2013 Convention Free Expo Pass Video Honky Tonk NFDA 2013 Convention Free Expo Pass Video If you get your free expo pass from Funeral [Read More ...]
In this episode, Im going to share with you my strategy on how to deal with online reviews: how to get nasty ones removed (or at least not look as bad) and how to get a steady stream of positive reviews In this video: 00:53 How did you feel when you get a negative review? 02:44 Is the complaint legitimate 05:35 The Olive Branch Approach 06:49 Cultivating positive reviews 08:41 Why client families with Gmail accounts are great for leaving online reviews 10:25 Your After Care Specialist can generate the best online reviews 11:39 [Read More ...]
As you will learn in this episode, this topic is always apparent to me ever since it hit me over the head in 1997 and I think that it is something that you should think about every so often (or even daily) Topics discussed / In this video: 02:34 Who scored on Hepp who also hoisted the Stanley Cup? 03:24 Started my apprenticeship with McCalls 04:04 An epiphanyin Las Vegas 06:07 Opinions are like a nose, everyone has one 07:30 Have you embalmed as many bodies as me? 09:32 Im not picking on hospice [Read More ...]
I get a lot of questions about what is the best way to set up a Google AdWords account for funeral homes and I have seen a lot of AdWords accounts that havent been set up properly, so here is what I recommend 00:39 Very effective marketing tool. 01:20 Is click fraud a tongue twister 03:08 Setting up your initial Google AdWords campaign 03:55 Setting up your ad groups 06:05 Not all keywords are good for you 07:58 If you have multiple locations, do this 11:15 Get the Funeral Home edition of [Read More ...]
I wanted you to mark your calendars now because this fall is going to be the Season of Competitive Advantage for your firm! I have 3 live presentations September, October and November where I am going to share with you my best and latest strategies that will give you and your funeral home a competitive advantage. September: Funeral Bootcamp Series in Cleveland, Ohio I will be presenting my Supercharging Your Website and Web Presence Workshop more details here. October: NFDA Convention in Austin, Texas I will be presenting a two hour workshop: Winning More Calls with Google [Read More ...]
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Futurist architecture – Wikipedia, the free encyclopedia
Posted: at 5:41 am
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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Futurist Speaker website
Posted: at 5:41 am
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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The Futurist: The Misandry Bubble
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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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Soyuz rocket launch to Space Station – Video
Posted: December 22, 2013 at 3:48 pm
Soyuz rocket launch to Space Station
Soyuz rocket launch to Space Station Soyuz rocket launches crew to International Space Station Three new crew members for the International Space Station (IS...
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Olympic torch reaches space station – Video
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Olympic torch reaches space station
Olympic torch reaches space station Olympic torch arrives at International Space Station A Soyuz rocket carrying the Sochi 2014 Olympic torch arrives at the ...
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Robot Astronaut Kirobo Has Historic Talk on International Space Station – Video
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Robot Astronaut Kirobo Has Historic Talk on International Space Station
Robot Astronaut Kirobo and astronaut Koichi Wakata made history when they had a conversation on the International Space Station on Dec. 6, 2013. The conversa...
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Robot Astronaut Kirobo Has Historic Talk on International Space Station - Video
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