Futurist Cinema

2017 ◽  

Futurism and early cinema shared a fascination with dynamic movement and speed, presenting both as harbingers of an emerging new way of life and new aesthetic criteria. And the Futurists quickly latched on to cinema as a device with great potential to manipulate our perceptions in order to create a new world. In the edited collection Futurist Cinema, Rossella Catanese explores that conjunction, bringing in avant-garde artists and their manifestos to show how painters and other artists turned to cinema as a model for overcoming the inherently static nature of painting in order to rethink it for a new era.

2021 ◽  
pp. 67-67
Author(s):  
Elena Grigoryeva ◽  
Konstantin Lidin

We lived and lived. But then, whoops!We found ourselves in other times…Timur Shaov. “Other times (listening to Galich once again)”Crises shaking our reality in the last decades happen so often that they overlap each other like roof tiles. Linear development of the second half of the twentieth century gave way to the era of cardinal changes. While building a new world, we strongly feel the need to preserve and comprehend the past. It is possible to understand the new only in comparison with the past. The disappearing world that consists of separate, isolated and selfcontained fragments is embodied in monuments of architecture. Images, techniques and practices of design and construction acquire a special meaning and new relevance in these new times. Wooden architecture of Siberia and stone merchant houses in Yalutorovsk, ancient churches and Leonidov’s avant-garde project, ruins of Stalin’s camps and the Korean Garden in Irkutsk are elements of the past that we need to understand the present. Protesting against the unification of tastes, breach of family relations and destruction of traditions, glocalization is on the rise.


Author(s):  
Grégoire Chamayou ◽  
Steven Rendall

This chapter discusses how the conquest of the New World gave rise to vast manhunts that continued for almost four centuries and took place all over the Americas. This was a massive phenomenon with its specially trained dogs, professional hunters, weapons, and culture. As a social phenomenon, Indian hunting was indissolubly a large-scale economic activity, a way of life, and a cruel pleasure, a macabre form of sport—and this was so from the beginning of the conquests. Acquisition hunts were intended to take future slaves. Extermination hunts were entirely different; their main goal was the eradication of the population in order to conquer the territory. These hunts of conquest had to be provided with legitimations, with theories. How could the hunts for Indians be justified? That is where, very early on, philosophers made their entrance.


Author(s):  
Robin Hanson

It tends to be easier to make social predictions about the middle of a distribution of characteristics, than about the tails of such a distribution. For example, it is easier to predict the typical time spent sleeping or eating, and the typical style of such activities, than the maximum or minimum time spent in such activities, or the styles of sleeping or eating done by those who spend an unusual amount of time in these functions. This is in part because when scenarios can differ according to a great many variables, this high-dimensionality creates a lot more detail to specify about the tails (i.e., extremes) compared with the middle of a distribution. This is also in part because hard-to-anticipate factors often have disproportionate effects on distribution tails. As ordinary humans are on the periphery of the em society, such issues make it harder to make predictions about humans in an em society. Even so, we should try. Ems are so fast that humans will only experience days in the time that a typical em experiences years. This suggests that during the entire em era humans will only achieve modest psychological and behavioral adaptations to the existence of ems. The human world will mostly look like it did before ems, except for a limited number of changes that can be made quickly. Ems being faster than humans also suggests that most substantial changes to human behaviors during the em era are driven by outside changes, rather than from within human society. Relevant outside changes include wars, changing prices such as wages, interest rates, and land rents, and an explosion of new products and services from the em economy. Because ordinary humans originally owned everything from which the em economy arose, as a group they could retain substantial wealth in the new era. Humans could own real estate, stocks, bonds, patents, etc. Thus a reasonable hope is that ordinary humans become the retirees of this new world. We don’t today kill all the retirees in our world, and then take all their stuff, in part because such actions would threaten the stability of the legal, financial, and political world on which we all rely, and in part because we have many direct social ties to retirees. Yes we humans all expect to retire today, while ems don’t expect to become human, but em retirees are vulnerable in similar ways to humans.


Antiquity ◽  
1992 ◽  
Vol 66 (250) ◽  
pp. 191-203
Author(s):  
Mary W. Helms

The European discovery of a separate and distinctive ‘new’ world was an event of cosmic proportion not only because of the enormous social, political and economic expansion potential for the developing nation-states of the European peninsula; discovery of this distant realm also required significant reconstruction of basic European cosmography. In the centuries prior to the Age of Discovery, Europe, focussing on Rome and Byzantium, had balanced its own geo-political centricity with cosmological interpretations of mystically paradisiacal or demonic distant lands generally situated to the East, places filled with exotic creatures and things, some dangerous while others constituted kingly riches. A new era began when the ocean to the west, long regarded as a restrictive barrier, became a possible route, a direction, which could lead to the exotica of the East. Realization that this western direction led instead to distinctive new western lands, new places, re-ordered the European cosmological paradigm (Helms 1988: chapter 6).


2007 ◽  
Vol 12 (2) ◽  
pp. 129-141 ◽  
Author(s):  
Lasse Thoresen ◽  
Andreas Hedman

AbstractThe last fifty years has witnessed an enormous development with regard to sound production, and has opened a new world of novel aural experiences. In order to be able to articulate and discuss these experiences there is a need for a corresponding novel set of terms and concepts. Such a terminology would also be relevant for analytical and interpretive approaches to electroacoustic music, avant-garde Western music, and ethno music. Pierre Schaeffer's typomorphology, developed in the 1960s, proposed a variety of novel terms, but they have not been of widespread use, since they unfortunately did not lend themselves very well for practical analysis. The present paper intends to develop Schaeffer's approach in the direction of a practical tool for conceptualising and notating sound quality. While carefully reducing the sometimes-bewildering number of terms found in Schaeffer's work, it introduces a set of graphic symbols apt for transcribing electroacoustic music in a concise score. The analysis of sound objects calls for a specific listeners' intention, called reductive listening.


2015 ◽  
Vol 6 (1) ◽  
pp. 189-191 ◽  
Author(s):  
Cecil H. Brown

Several studies recently published in Ethnobiology Letters treat respectively the paleobiolinguistics of chili pepper, manioc, maize, and the common bean in New World language families. This includes the Otomanguean family of Mexico, one of the oldest language groups of the hemisphere, whose parent language may have been spoken at the latest around 6500 years ago. This communication addresses the possibility that Otomanguean paleobiolinguistics should be considered tentative since languages of the grouping are not yet conclusively demonstrated to be descended from a common ancestor. This challenges the proposal that words for chili pepper, manioc, and maize were in vocabularies of languages spoken two thousand or more years before development of a village-farming way of life in the New World.


Nordlit ◽  
2015 ◽  
pp. 445
Author(s):  
Janke Klok

<p align="JUSTIFY"><span lang="en-GB">In this article I reflect on Ibsen's laborious road to the Dutch stages to display the reciprocal influence between innovating theatre plays and the process of a modernizing society. In doing this I take into account insights from translation theory and the thinking on cultural mediation, whereby cultural transmission is seen as a way of interacting: the receiving culture’s receptivity towards new ideas and new forms is crucial for the space available for innovative literature from abroad. </span></p><p align="JUSTIFY"><span lang="en-GB">Tracking Ibsen on the Dutch stages shows a wavelike movement. Research into the reception of Ibsen supports the claim by the Dutch author Ina Boudier-Bakker (1875-1966) who used the late first staging of Ibsen's </span><span lang="en-GB"><em>A Doll's House</em></span><span lang="en-GB"> (1889) to illustrate the Amsterdam and Dutch conservatism with regard to gender roles and avant-garde art. Prior to 1890 the Netherlands lagged behind other European countries. With the Dutch production of </span><span lang="en-GB"><em>A Doll</em></span><span lang="en-GB">’</span><span lang="en-GB"><em>s House </em></span><span lang="en-GB">a new era arrives.</span><span lang="en-GB">After a flying start and a growing appreciation for Ibsen as a social reformer, particularly concerning entrenched (gender) conventions, Dutch critics in the period 1930-1970, do not seem to be able to place Ibsen’s plays. A qualitative analysis of the revival by way of the jubilee performance </span><span lang="en-GB"><em>Ghosts</em></span><span lang="en-GB"> in 1956, shows that Dutch audiences hold off a contemporary debate by focusing on geographical and ethnographical distance. It indicates that in the fifties this audience was intellectually and artistically conservative. Tracking Ibsen on the stages after 1970 shows us the current multicultural society; it shows us a renewed interest in his female characters, which culminates with Nora. It shows us an increasing number of women directors in Dutch theatres, also in advanced theatre school performances. Present-day Dutch theatres and their audiences seem to be mostly interested in Ibsen’s theatre women, be it his female characters or the relatively new phenomenon of women directing his plays. Their experiments with his texts are highly appreciated and show a renewed interest in public debate, re-establishing the discussion that was aroused in the first period of staging Ibsen in the Netherlands. The experiments with Ibsen’s “old” female characters by his “new” women directors form a most important ingredient of his modernity and sustainability, both where content (feminism = noraism) and where form are concerned. It is these women who confirm Ibsen’s position as an author of today’s world. </span></p>


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