From a “Science” of the Future to a Polemic about the Present - * Herman Kahn and B. Bruce-Briggs: Things to Come: Thinking About the Seventies and Eighties. (New York: The Macmillan Company, 1972. Pp. x, 262. $6.95.)

1973 ◽  
Vol 35 (2) ◽  
pp. 248-251
Author(s):  
John W. Houck
Keyword(s):  
New York ◽  
The Future ◽  
To Come

Mythology

Ridley Scott ◽  
2019 ◽  
pp. 78-83
Author(s):  
Vincent LoBrutto
Keyword(s):  
New York ◽  
Fairy Tale ◽  
Original Version ◽  
Ridley Scott ◽  
Feature Film ◽  
Big Brother ◽  
Box Office ◽  
The Future ◽  
To Come ◽  
Athletic Woman

In the Orwellian year of 1984, during Super Bowl XVIII, a commercial for Apple’s Mackintosh computer ran and became one of the most eye-catching and provocative sixty-second spots ever made. It was never shown again on television. As directed by Ridley Scott, the commercial portrays the grim world of the future dominated by Big Brother until a beautiful, athletic woman liberates everyone. For his next feature film Scott embraced the fantasy genre with Legend, a good versus evil tale set it a mythical land. Disaster hit the production when the entire elaborate set burned down. Miraculously, no one was injured, and the fairy tale environment was quickly rebuilt. The original version of Legend did poorly in front of test audiences and Scott cut it down radically, which hurt the film even more at the box office. In 1986 Ridley Scott Associates was expanded with the addition of a New York office, with more to come in the future.

The Light and the Dark: contrasts in the Music of Jacob Druckman

Tempo ◽  
1994 ◽  
pp. 21-26
Author(s):  
Bret Johnson
Keyword(s):  
New York ◽  
20Th Century ◽  
Growth And Development ◽  
Expressive Power ◽  
American Composers ◽  
20Th Century Music ◽  
New York Philharmonic ◽  
The Future ◽  
To Come ◽  
Artistic Director

Among established American composers, Jacob Druckman's music remains unique in the breadth of its range, the mastery of its orchestration and the totality of its expressive power. There is little point in spending too much effort in drawing comparisons with some of his closest contemporaries and, in any event, such comparisons are hard to come by. He has had a remarkable career: as an academic, as composer-in-residence to the New York Philharmonic, as a conductor (he has conducted a number of his works with the BBC Philharmonic), as artistic director of many festivals, and as lecturer and administrator. He now devotes as much times as he can to composing, but whatever the future brings, there can be little doubt that he has already made a major contribution to the growth and development of 20th-century music.

“More Cowbell”

Latin Jazz ◽  
2020 ◽  
pp. 141-174
Author(s):  
Christopher Washburne
Keyword(s):  
New York ◽  
Case Studies ◽  
Ethnographic Study ◽  
First Century ◽  
The Future ◽  
Latin Jazz ◽  
Twenty First Century ◽  
To Come ◽  
Made In

This chapter is an ethnographic study of New York–based Latin jazz in the twenty-first century. It uses five prominent bandleaders actively shaping the future of Latin jazz as case studies—Eddie Palmieri, Michele Rosewoman, Carlos Henríquez, Miguel Zenón, and Bobby Sanabria—demonstrating how the historical specificities and developments discussed in the preceding chapters continue to reverberate and inform the music made in the present. Their voices and perspectives demonstrate how each of these musicians adopts unique strategies to navigate the terrain of inequity and adversity. They represent significant trends that will assert much influence on generations of musicians to come. Their combined perspectives suggest that Latin jazz is not, nor ever should it have been, an “other jazz.” Its presence can no longer be silenced or erased. All of the music and musicians associated with jazz deserve to be fully embraced and recognized.

scholarly journals Recurring Dreams: Mega Events and Traces of Past Futures

2020 ◽  
Vol 22 (1) ◽  
Author(s):  
Jonathan Gardner
Keyword(s):  
New York ◽  
Olympic Games ◽  
World's Fair ◽  
Complex Relationship ◽  
Mega Events ◽  
The World ◽  
The Future ◽  
To Come ◽  
Mega Event ◽  
Modern Era

Investigating several modern ‘mega events’, including World’s Fairs and Olympic Games, this paper discusses the complex relationship such events and their sites have often had with ‘the future’. Such events are frequently associated with demonstrating progress towards future ‘utopias’ (for example ‘The World of Tomorrow’ theme of the 1939 World’s Fair in New York) or leaving a tangible positive social and economic ‘legacy’. However, other uses of mega event sites have also frequently manifested darker, more anxious ideas about that which is yet to come. In this paper I discuss three forms in which mega events’ sites relate to the idea of the future: before, during, and after they take place. In discussing these relationships, I demonstrate how traces of ‘past futures’, when investigated archaeologically, provide a diverse means by which to understand how societies have related to the idea of the future through the modern era.

Author Processing Charges: Barriers to Open Research, Barriers to Progress

2019 ◽  
Author(s):  
Robin O’Hanlon
Keyword(s):  
New York ◽  
Open Access ◽  
Open Research ◽  
The Future

Presentation slides from Metropolitan New York Library Council Open Access Symposium: "The Future Is Open Access, but How Do We Get There?: A Symposium." September 12-13, 2019. New York. NY.

Fluxus and the Absurd (1961–62)

2017 ◽  
Author(s):  
Benjamin R. Levy
Keyword(s):  
Second Life ◽  
The Self ◽  
Major Work ◽  
The Future ◽  
To Come ◽  
The Impact

After John Cage’s 1958 Darmstadt lectures, many European composers developed an interest in absurdity and artistic provocation. Although Ligeti’s fascination with Cage and his association with the Fluxus group was brief, the impact it had on his composition was palpable and lasting. A set of conceptual works, The Future of Music, Trois Bagatelles, and Poème symphonique for one hundred metronomes, fall clearly into the Fluxus model, even as the last has taken on a second life as a serious work. This spirit, however, can also be seen in the self-satire of Fragment and the drama and irony of Volumina, Aventures, and Nouvelles Aventures. The sketches for Aventures not only show the composer channeling this humor into a major work but also prove to be a fascinating repository of ideas that Ligeti would reuse in the years to come.

scholarly journals A Sense of Presence: Mediating an American Apocalypse

Religions ◽  
2021 ◽  
Vol 12 (1) ◽  
pp. 59
Author(s):  
Rachel Wagner
Keyword(s):  
Religious Practice ◽  
Religious Institutions ◽  
The Past ◽  
Sense Of Presence ◽  
The World ◽  
The Future ◽  
To Come

Here I build upon Robert Orsi’s work by arguing that we can see presence—and the longing for it—at work beyond the obvious spaces of religious practice. Presence, I propose, is alive and well in mediated apocalypticism, in the intense imagination of the future that preoccupies those who consume its narratives in film, games, and role plays. Presence is a way of bringing worlds beyond into tangible form, of touching them and letting them touch you. It is, in this sense, that Michael Hoelzl and Graham Ward observe the “re-emergence” of religion with a “new visibility” that is much more than “simple re-emergence of something that has been in decline in the past but is now manifesting itself once more.” I propose that the “new awareness of religion” they posit includes the mediated worlds that enchant and empower us via deeply immersive fandoms. Whereas religious institutions today may be suspicious of presence, it lives on in the thick of media fandoms and their material manifestations, especially those forms that make ultimate promises about the world to come.

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