Category Archives: Futurism

"Phobos is doomed."Death Spiral

Ever seen a Moon doomed to crash and burn into the Martian surface create a solar eclipse? Now you have.

NASAs Perseverance rover captured and posted a video this week that shows Phobos, one of two Martian satellites that NASA describes as being distinctly potato-shaped, as it crossed the Suns surface. In a press release, the space agency said the clip will help scientists better understand the moons orbit and how its gravity pulls on the Martian surface.

Scientists already know that Phobos is doomed, NASA said in the statement. [Its] getting closer to the Martian surface and is destined to crash into the planet in tens of millions of years. But eclipse observations from the surface of Mars over the last two decades have also allowed scientists to refine their understanding of Phobos slow death spiral.

The good news is Phobos inevitable demise shouldnt happen anytime soon, which means NASAs plans to land humans on the Martian surface are still on the table. The same presser said Perseverance is currently studying astrobiology and searching for signs of life on the Red Planet as it paves the way for human missions to touch down.

All of this work should support Artemis, NASAs mission that should eventually land the first woman and person of color on Earths own Moon. Although rocket tests have been less than perfect lately, the goal is to use lessons learned from returning to our lunar surface to catapult over to Mars.

If we make it there, itd be cool to keep the Perseverance rover around as a memorial to our accomplishments. Perhaps it could even witness the eventual demise of Phobos millennia after this weeks eclipse.

More on returning to the Moon: NASA Contractor Unveils First US Lunar Lander Since Apollo Missions

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NASA Says One of Mars' Moons Is Going to Crash Into Its Surface - Futurism

Think of her as Peggy Guggenheim in reverse. Laura Mattioli Rossi: an Italian, not an American, living in New York, not Venice, near Canal Street, not the Grand Canal. She established and runs a private foundation in New York, the Center for Italian Modern Art (CIMA), which recalls the private, one-woman Peggy Guggenheim Collection in Venice.

Since 2013, Mattioli has exhibited Italian art of the Interwar and Postwar period in the SoHo loft building on Broome Street where she also lives. Guggenheim displayed Surrealists and Abstract Expressionists of the same period in the Palazzo Venier dei Leoni, where she lived. The two heiresses, raised by nannies some 50 years apart, also shared lonely childhoods.

Her fathers extensive collection of Italian Futurist art began in 1949, a birth date just before her own, 1950. When the collection was born, I was born, she said last month. The collection was my big, more successful sister famous and more beautiful, and more pleasing to my father.

Over an espresso and chocolates in the large, open kitchen inside the CIMA gallery above her loft, she casually mentions: My mother tried to kill me when I was six months old. She was unstable and thought, after a long postnatal depression, that I caused her suffering.

Until she was 12, hired help protected her from her mothers violent outbursts, as her father, Gianni Mattioli, a successful cotton merchant, traveled for business and escaped emotionally into the sanctuary of his art collection, kept in a second apartment on the Via Senato in Milan. The family apartment was furnished with the antiques and historic paintings that his bourgeois business guests preferred. His daughter considered the collection her good sister filled with good objects: They gave me fewer problems than people.

If Guggenheim, in her winged sunglasses and dangling Calder earrings, was flamboyant, Mattioli dresses quietly, like the academic she is. She wears wire-rimmed glasses, and during a recent visit, her only splash of color was a hand-knit scarf tucked under a cabled burgundy cardigan. With a masters in art and a Ph.D. on the history of collecting, she taught for 15 years, and still has a studious air. When, at 23, she married Giovanni Rossi, an art conservator, she said, I left with only the shirt on my back my parents didnt give me a penny. (Mattioli and Rossi divorced in 2008.)

In 1983, she unexpectedly inherited the collection, which had been promised to an emerging museum in Brera. But the museum was never built, and the Futurist collection, which grew when her father bought another famous collection in 1949, stayed in his ownership. He died in 1977, and her mother, in a surprising deathbed decision, bequeathed the entire collection to her daughter. Mattioli became the bride of the collection.

The collection had a biography of its own. Her father had left high school at 14 to support his penurious mother and work as a delivery boy in a cotton trading company. He found his own way in the 1920s, via Milanese galleries, into an exciting world of avant-garde artists who wanted to change the world. The impoverished aficionado, so malnourished he developed rickets, could afford just a few artworks. Only after ascending in the company did the situation change, especially when he married the daughter of the boss of a competing cotton trading company. The executive knew of his daughters instability and arranged the marriage: It was a deal I couldnt refuse, Gianni Mattioli wrote to his brother. Angela Maria Boneschi adored her tall, handsome, solicitous husband.

According to Laura Mattioli, when her family fled the bombardments in Milan to Lake Maggiore in 1943, her father witnessed Italys first Nazi massacre of Jews, left floating in the lake. Believing art could help make man less of a beast, he resolved to collect art for its civilizing value. (After the massacre, she said her father clandestinely arranged the safe passage for Jews into Switzerland.) He eventually opened his collection to the public on the Via Senato, with its Futurist and Metaphysical paintings, and a wall of Giorgio Morandis. In 1949, he lent many works to the Museum of Modern Arts show, Twentieth Century Italian Art.

My father wanted to tell the story of Italian art in the first half of the century, she said. For me, he set the example of opening his collection to the public and lending it to museums.

Because of export restrictions on art over 50 years old and other legal measures, the Italian Futurist collection cannot leave Italy as a whole or be broken up for sale. (She is allowed by law to export a limited number of works for exhibition.) In 1997, Laura Mattioli succeeded in arranging a long-term loan with the Peggy Guggenheim Collection, freeing her to work as an independent scholar and curator.

In one stroke the Mattioli collection made the Peggy Guggenheim Collection the number one museum of Italian Futurism, said Philip Rylands, then the director of the Guggenheim in Venice, and now head of the Society of the Four Arts in Palm Beach, Fla.

Her fathers attitudes toward art and money helped shape her own. He had a liberated attitude toward money, and consciously used it for spiritual and cultural needs and the common good, she said. His social empathy came from the stinging poverty of his childhood. As part of its cultural outreach, CIMA funds scholars, mostly foreign, for research sojourns in New York.

For Mattioli, CIMA is a corrective. Italian Modernism had always been seen through a French lens, and her New York shows shed that perspective to better establish avant-garde Italian art as an independent rather than derivative movement. The first was Fortunato Depero, the Futurist artist who had become a father figure for her father, followed by a show on Medardo Rosso, the sculptor and photographer.

Im full of admiration for her campaign to raise the profile of 20th-century Italian art stressing its originality, and to do so with such rigorous scholarship, said Rylands, adding, The Depero and Rosso exhibitions brought attention to artists who generally arent sufficiently understood.

In SoHo, as in Milan, there are two apartments, her own and the tall, open, Minimalist loft gallery. On Fridays and Saturdays, visiting days for the public, guests are welcomed with an espresso, as in a home; scholars guide visitors on Friday tours.

The current show of social realism, Staging Injustice: Italian Art 1880-1917, embodies her fathers notion of art with a social message. The face of La Portinaia (The Concierge), a sculpture by Rosso, a contemporary of Rodin, expresses the anguish of protracted poverty. In Il Minatore (The Miner), Ambrogio Alciati painted a Caravaggio-esque deposition from the cross, the body of a miner being mourned by a widow after an accident in the mine. He reinvents chiaroscuro with brisk, wispy, contemporary brush strokes. A haunting, tightly focused portrait, Venditore di Cerini (Match Seller) by Antonio Mancini, depicts a mendicant boy peddling matches, with dashes of paint that John Singer Sargent would have applied to silk, here giving the effect of wistful sadness.

In her own loft downstairs, Mattioli collects the art of her time, like her father (and Peggy Guggenheim). Perfect visual pitch and daring seem to be the legacy she absorbed at home. Two startling sculptures by the New York sculptor Barry X Ball stand ten feet high, one a ghostly distortion of Michelangelos Rondanini Piet, carved in translucent onyx. Two faint and fragile pencil-and-watercolor drawings by Cy Twombly on torn paper hang over the gas-fed fireplace. Six early Morandis from what Mattioli calls his pudding period because of the thickly applied oils line a wall.

The furniture is Italian modern. Two Gio Ponti side tables stand beside the low-slung, midcentury Lady Armchair, in shaggy upholstery, by Marco Zanuso for Cassina. An inlaid Lombard-style desk and dresser from the familys Milan apartment line the entry hall.

Besides her taste and sense of social mission, the legacy she brought from her fathers collection was detachment. Since it was located outside her home, she came to feel the collection was something I could live with, but also without. In 2018, she gave the entire Futurist collection to her younger son, Jacopo Rossi, a Roman Catholic priest. She gave the collection in Switzerland to her other son, Giovannibattista Rossi, an Alpinist who lives there.

I dont know what the future of the Futurist collection could be, she said. But my son has more energy, and he will run it for the third generation.

Under the auspices of the Italian Foreign Ministry, the Futurist collection was sent last year in a diplomatic pouch for exhibition to the State Russian Museum in St. Petersburg and the Pushkin Museum in Moscow. The movement had greatly impacted the Russian Avant-Garde in the early 20th century. The collection returned to Italy just 10 days before the recent start of the war in Ukraine.

Had it still been in Russia after the start, We dont know what would have happened to the collection, she said. It is now headed to Milan on a five-year loan to the Museo del Novecento (Museum of the Twentieth Century), next to the cathedral.

Staging Injustice: Italian Art 1880-1917

Through June 18 at the Center for Italian Modern Art, 421 Broome Street, 4th floor, Manhattan. 646-370-3596; italianmodernart.org.

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Laura Mattioli Is the Peggy Guggenheim of Soho - The New York Times

Recent work exuding the rich, prismatic worlds Ademola creates includes an earth-conscious brand film for House of Marley; the music video for Sidibes single Place For You & I,where a woman falls in love with a man trapped inside a painting; and Fearless Leader, a commercial he co-directed with MJZ director Fredrik Bond for Northwell Health, which won a Muse Award for Creativity. Currently, Ademola is in post-production of a film titled Ellas Vinieron de las Nubes, an experimental documentary about the Afro-Mexicans of La Costa Chica.

Ademola believes that truth and authenticity of expression is essential for brands to connect with todays consumers: The brands that excite me most are the ones that are brave enough to be vulnerable and answer to a larger purpose, such as social justice, mental health, mindfulness, and sustainability in their marketing.

Outside of the commercial world, the LA-based director keeps busy writing and directing original films. His recent short film, I Dreamed of Seeing Myself, will screen at the 2022 Alchemy Film and Moving Image Festival. Combining video, painting, drawing, photography, and performance, the film is a surreal exploration of self-identity and African experience. He also recently starred in an episode of Hulus Your Attention Please, a series on Black innovators and creators who are leaving their mark on the world.

Ademola is also renowned in art scenes from Lagos, Nigeria, to New York City. Last month, his triptych video installation titled I Forever Am(2021) displayed as part of a group exhibition produced by the NEW INC-supported Black Beyond in partnership with Parsons School of Design. He is also the recipient of the 2021-22 Kala Media Art Award and Fellowship and has been awarded residencies at Caldera Arts (founded by Dan Wieden); the Virginia Center for the Creative Arts; and Pocoapoco.

From the very first project we did together, I could tell the WTBR ecosystem was just different, concludes Ademola. Tim and [WTBR Founder/Executive Producer] PJ [Koll] just seemed to get it as they put a lot of trust in the artist while upholding client integrity. I'm thrilled to make magic with them.

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Jamal Ademola joins Where The Buffalo Roam | shots - Shots

(By Buzz Knight) NAB 2022 is upon us in the coming days and it is critical that the Radio industry needs to reflect on its current position in the media ecosystem and most importantly find ways to arm itself for the years ahead.

Preparing for future battle requires a steadfast approach to an honest evaluation of what is working well and what needs to change for successful outcomes.

In my podcast series called Takin A Walk I was fortunate to interview the Authors of Provoke How Leaders Shape the Future by Overcoming Fatal Human Flaws Geoff Tuff and Stephen Goldbach from Deloitte and they had some interesting context on preparing for the future.

According to Stephen, One of the things that I think about the radio business if you just start with the orthodoxies that it has, radio was by definition a technology. It was a means to distribute content to listeners and the business was funded by advertising historically. The whole definition of the radio business was around to some extent the mechanism through which we deliver content. Now that there are many mechanisms to deliver content, the radio, the businesses that have been historically radio businesses need to rethink their role in that ecosystem. Its not only the way to deliver content. There are other more engaging media because theres simply audio and visual and experiential. Radio needs to think about what its differentiation is relative is relative to just experiencing a regular podcast through another mechanism. Radio needs to reinvent itself in a much more customer-centric way than a product-centric way, which is I think where its history comes from, and its very hard to reinvent your history.

I think that last line on history is so key from Stephen.

To listen to that entire episode GO HERE.

Thats why I am so excited to be leading a panel on Sunday April 24 starting at 10:35 AM at Room N-259-N-261 called Insights from the Futurists where we will attempt to help you navigate the present, understand trends and implications, consider disruptive actions, and be better prepared for the future.

The first part of the presentation will include Ben Arnold-Industry Analyst Consumer Technology from The NPD Group and John Clark Executive Director of NAB Pilot.

Here we will lay out the media landscape and the shifting tides of the last few years on all aspects of consumer behavior, including in vehicle.

The next part of the conversation will be led by Ben Arnold, and it will discuss a revolutionary pilot involving Connected Travel led by CEO Bryan Biniak, Radioline-A Global Radio and Podcast aggregator led by CEO Xavier Filliol, Simplebet-A B2B product development company using machine learning and real-time technology to make every moment of every sporting event a betting opportunity and a major OEM.

The implications of this pilot are massive for the Radio Industry.

Revenue generation in the vehicle has been constrained and drive time needs to be open for business.

This session will focus on this game changing pilot and how the next generation of in-vehicle infotainment will be powered by the integration of voice-based user experience, payments, interactive programming and shoppable advertising.

This is a next generation radio service on Googles Android Automotive that enables the worlds first interactive sportscast enabling safe real-time free to play gaming and real money betting while listening to sportscasts play by play of their favorite teams.

For a precursor to this session check out the new edition of the NAB Podcast Series (episode 166) where we discuss the pilot in more detail with the company stakeholders.

Go to NAB.org/podcasts or find the episode here.

Innovation is key to future survival and growth, and it will be on display at this session at NAB 2022.

Looking forward to seeing you there.

Buzz can be reached by e-mail at [emailprotected]

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Insights From The Futurists at NAB - Radio Ink

Earth: what a planet. Easily in the top three in the entire solar system. Earth Day is a good time to reflect not only on small steps we can take to live more sustainably but celebrate a planet we call home. To ring in the day right, Amazon, Home Depot, eBay, Samsung, and Walmart offering tons of great deals on everything from sustainable home goods to tech. But like any deal tied to a holiday, these wont last long, so act fast.

One of the easiest ways to curb your energy use is by using a smart thermostat. This thermostat sets up easily (in as little as 45 minutes, in fact) and connects to your Alexa-enabled devices so you can do everything with easy voice commands. Its Energy Star-certified, and can save you as much as $50 a year on your energy bills. Alexa does all the heavy lifting, adjusting the temperature at will from anywhere. Not only is this smart thermostat great for more energy-efficient living, but its Climate Pledge-friendly so its built sustainably too.

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Hit the trails or save energy by commuting to work with the Schwinn Boundary Electric Bike. Designed with a 250-watt pedal-assist motor, the bike makes it easier to get up those hills and ride for longer. The aluminum frame and front wheel suspension are built to withstand obstacles and bumps on the trails, while the front and rear disk brakes, and sturdy tires help you stop quickly, no matter what the weather.

Schwinn Boundary ELECTRIC Mountain Bike $798 (was $1,098)

ExpertPower 2.5KWH 12V Solar Power Kit $2,159.99 (Save $150 with coupon)

LEFANEV 40A EV Electric Vehicle Charging Station $449 (was $499)

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Wed forgive you if you wanted to take a break from this world and escape for a while. Immerse yourself in another universe while minimizing your impact on this one with a refurbished model of the Oculus Quest 2. Join a new virtual community for workouts, live experiences, and more. Get started with some of the best VR games.

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This post was created by a non-news editorial team at Recurrent Media, Futurisms owner. Futurism may receive a portion of sales on products linked within this post.

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Snag the Best Earth Day Deals from Amazon, eBay, Samsung, and Walmart - Futurism

Shallow pockets of water "must have been, or maybe still are, extremely common" on Europa.Waterworld

Scientists have found that Jupiters moon Europa could be home to even more pockets of liquid water than previously thought, meaning that its an even better candidate in our solar system to look for alien life.

In a new study published in the journal Nature Communications this week, a team of scientists at Stanford University found that Europas icy shell could be more porous than believed.

The smoking gun: double ridge features that greatly mimic those found in Greenlands ice sheet. The theory goes that if those ridges were formed the same way they were in Greenland, there should be a lot more water on the Jovian moon than previously thought though we wont know for sure,most likely, until we have a look for ourselves.

The observation was a bit of a happy accident.

One of my colleagues on this paper, who is a planetary scientist, was giving a presentation on the big open questions in Europa science and showed a picture of these double ridges on the surface, Riley Culberg electrical engineering PhD at Stanford University, and study lead, told The Daily Beast.

It struck me that I had seen a similar looking feature in my own data from Earth while working on a totally different project related to climate change impacts on the Greenland ice sheet, he added.

Even accounting for the vastly different level of gravity on Europa, the theory appears to check out, with the moons ridges two peaks having the same proportional height and distance between them as in Greenland.

In the case of Greenland, pressurized liquid from below forces the ice sheets upward, causing a crest of two peaks, with pockets of water underneath.

That means Europas icy shell could also be riddled with shallow pockets of liquid water.

If Europas double ridges also form in this way, it suggests that shallow water pockets must have been, or maybe still are, extremely common in the ice shell, Culberg told Beast.

Of course, we wont be able to test the theory without more direct observations. But fortunately, NASA is looking to do just that, launching a probe to the icy moon called Europa Clipper some time in 2024, with a special radar on board that can peek beneath its mysterious icy shell.

READ MORE: The Chances of Finding Alien Life on Jupiters Moon Europa Just Shot Way Up[The Daily Beast]

More on Jupiter: Watch the Rare Triple Transit From Jupiters Moons

The rest is here:
Jupiter's Icy Moon May Be Way More Habitable Than We Thought - Futurism