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Regenerative Medicine Industry 2018 Global Status, Growth …

Posted: December 6, 2018 at 2:50 pm

Wiseguyreports.Com Publish New Market Research Report On -Regenerative Medicine Market - Global Industry Analysis, Size, Share, Trends, Growth and Forecast 2018 - 2025

Pune, India - December 5, 2018 /MarketersMedia/ Regenerative Medicine Market 2018

Regenerative medicine is a branch of translational research in tissue engineering and molecular biology which deals with the "process of replacing, engineering or regenerating human cells, tissues or organs to restore or establish normal function". This field holds the promise of engineering damaged tissues and organs by stimulating the body's own repair mechanisms to functionally heal previously irreparable tissues or organs.

Scope of the Report:This report studies the Regenerative Medicine market status and outlook of Global and major regions, from angles of players, countries, product types and end industries; this report analyzes the top players in global market, and splits the Regenerative Medicine market by product type and applications/end industries.

North America will continue to dominate the global market in the forecast period. However, Asia is expected to witness the highest CAGR, with the growth in this market centred at China, Japan and India. Increasing research activities in Asian countries, availability of funding for research, and the establishment of biobanks and research centers are some factors propelling market growth.The global Regenerative Medicine market is valued at xx million USD in 2017 and is expected to reach xx million USD by the end of 2023, growing at a CAGR of xx% between 2017 and 2023.

The Asia-Pacific will occupy for more market share in following years, especially in China, also fast growing India and Southeast Asia regions.North America, especially The United States, will still play an important role which cannot be ignored. Any changes from United States might affect the development trend of Regenerative Medicine.

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Market Segment by Companies, this report coversIntegra LifeSciencesMedtronicMiMedx GroupOrganogenesisZimmer BiometAcelityNuvasiveVericelOsiris TherapeuticsStrykerCook BiotechJapan Tissue EngineeringAllergan

Market Segment by Regions, regional analysis coversNorth America (United States, Canada and Mexico)Europe (Germany, France, UK, Russia and Italy)Asia-Pacific (China, Japan, Korea, India and Southeast Asia)South America (Brazil, Argentina, Colombia)Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria and South Africa)

Market Segment by Type, coversCell-based productsAcellular products

Market Segment by Applications, can be divided intoOrthopedic & Musculoskeletal DisordersDermatologyCardiologyDiabetesCentral Nervous System DiseasesOthers

Complete Report Details @ https://www.wiseguyreports.com/reports/3578464-global-regenerative-medicine-market-2018-by-manufacturers-countries

Table of Contents Analysis of Key Points

1 Regenerative Medicine Market Overview1.1 Product Overview and Scope of Regenerative Medicine1.2 Classification of Regenerative Medicine by Types1.2.1 Global Regenerative Medicine Revenue Comparison by Types (2017-2023)1.2.2 Global Regenerative Medicine Revenue Market Share by Types in 20171.2.3 Cell-based products1.2.4 Acellular products1.3 Global Regenerative Medicine Market by Application1.3.1 Global Regenerative Medicine Market Size and Market Share Comparison by Applications (2013-2023)1.3.2 Orthopedic & Musculoskeletal Disorders1.3.3 Dermatology1.3.4 Cardiology1.3.5 Diabetes1.3.6 Central Nervous System Diseases1.3.7 Others1.4 Global Regenerative Medicine Market by Regions1.4.1 Global Regenerative Medicine Market Size (Million USD) Comparison by Regions (2013-2023)1.4.1 North America (USA, Canada and Mexico) Regenerative Medicine Status and Prospect (2013-2023)1.4.2 Europe (Germany, France, UK, Russia and Italy) Regenerative Medicine Status and Prospect (2013-2023)1.4.3 Asia-Pacific (China, Japan, Korea, India and Southeast Asia) Regenerative Medicine Status and Prospect (2013-2023)1.4.4 South America (Brazil, Argentina, Colombia) Regenerative Medicine Status and Prospect (2013-2023)1.4.5 Middle East and Africa (Saudi Arabia, UAE, Egypt, Nigeria and South Africa) Regenerative Medicine Status and Prospect (2013-2023)1.5 Global Market Size of Regenerative Medicine (2013-2023)

2 Manufacturers Profiles2.1 Integra LifeSciences2.1.1 Business Overview2.1.2 Regenerative Medicine Type and Applications2.1.2.1 Product A2.1.2.2 Product B2.1.3 Integra LifeSciences Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)2.2 Medtronic2.2.1 Business Overview2.2.2 Regenerative Medicine Type and Applications2.2.2.1 Product A2.2.2.2 Product B2.2.3 Medtronic Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)2.3 MiMedx Group2.3.1 Business Overview2.3.2 Regenerative Medicine Type and Applications2.3.2.1 Product A2.3.2.2 Product B2.3.3 MiMedx Group Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)2.4 Organogenesis2.4.1 Business Overview2.4.2 Regenerative Medicine Type and Applications2.4.2.1 Product A2.4.2.2 Product B2.4.3 Organogenesis Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)2.5 Zimmer Biomet2.5.1 Business Overview2.5.2 Regenerative Medicine Type and Applications2.5.2.1 Product A2.5.2.2 Product B2.5.3 Zimmer Biomet Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)2.6 Acelity2.6.1 Business Overview2.6.2 Regenerative Medicine Type and Applications2.6.2.1 Product A2.6.2.2 Product B2.6.3 Acelity Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)2.7 Nuvasive2.7.1 Business Overview2.7.2 Regenerative Medicine Type and Applications2.7.2.1 Product A2.7.2.2 Product B2.7.3 Nuvasive Regenerative Medicine Revenue, Gross Margin and Market Share (2016-2017)Continued..

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Genetic Medicine Clinic at UW Medical Center | UW Medicine

Posted: December 3, 2018 at 10:47 am

Directions to CHDD from Main Information Desk at UWMCThe Patient Information Desk on the main (3rd Floor) of UWMC has detailed directions and a map to CHDD and may be able to provide an escort. From the Information Desk take the Pacific Elevators to the 1st Floor of the hospital. Walk through the Plaza Caf and exit the back glass doors of the hospital. CHDD is the four story brick building directly across the street. Check in at the reception desk on the main (2nd Floor) of CHDD.

Access the lot from 15th Avenue N.E. Stop at gate house 6 to obtain a parking permit.

Look for CHDD- designated or UWMC disability parking stalls. Walk out of S1 at the east end and enter CHDD Clinic building. Patients can be dropped off at the CHDD entrance from which vehicles can return to S1 for parking. A cash payment of $15.00 is required upon entry. Please leave the permit on your dashboard. A partial discount voucher will be given at appointment check-in for patients or family members.

CHDD Parking Brochure (PDF)

Disability ParkingFor All CHDD patients and families with mobility parking needs, the closest parking is in the S1 Garage. Please request a disability placard at the gate house. A cash payment of $15.00 is required upon entry. Please leave the permit on your dashboard. A partial discount voucher will be given at appointment check-in for patients or family members. Valet parking is available at the main entrance of the Medical Center; wheelchairs and escort services are available from the Information Desk.

Valet ParkingValet parking service for patients and their visitors is located in front of the Medical Center, near the main entrance. Allow extra time if you choose to use valet parking.

From valet service, walk east to the main entrance of UWMC. The Information Desk has detailed directions and a map to CHDD and may be able to provide an escort.Triangle Parking GarageThe Triangle Parking Garage is located on N.E. Pacific Place, across the street from UW Medical Center. From Montlake Blvd., turn left onto N.E. Pacific Street and right onto N.E. Pacific Place. The Triangle Garage has a height restriction of 6 8. Allow extra time if you choose to use the Triangle Parking Garage.From the Triangle Garage, take the pedestrian tunnel to the front entrance of the UWMC. The Information Desk has detailed directions and a map to CHDD and may be able to provide an escort.

Surgery Pavilion Parking GarageThe Surgery Pavilion Parking Garage is accessed off of N.E. Pacific Street next to the Emergency Room entrance. The Surgery Pavilion has a height restriction of 9 6 on Level P1. Levels P2 & P3 (2nd & 3rd floor) have a height restriction of 6 7. Allow extra time if you choose to use the Surgery Pavilion Parking Garage.

From the Surgery Pavilion Parking Garage, take the elevator to the third floor. Walk across the pedestrian overpass to the main hospital building lobby. The Information Desk has detailed directions and a map to CHDD and may be able to provide an escort.Payment Rates for parking in S-1, Valet, Triangle, Surgery Pavilion:Patients parking in S-1 will need to pay $15 up front which will be partially reimbursed with validation upon exiting the parking lot (see rates for parking in link above). Credit/Debit cards will be reimbursed on the card, while patients paying cash will be given a cash reimbursement.

Getting to UW Medical Center

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Genetic Medicine Clinic at UW Medical Center | UW Medicine

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Futurist Wikipedia | Futurist Transhuman News Blog

Posted: December 3, 2018 at 10:47 am

Futurists or futurologists are scientists and social scientists whose specialty is futurology or the 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 people who attempt to predict the future (sometimes called trend analysis) such as authors, consultants, thinkers, organizational leaders and others who engage in interdisciplinary and systems thinking to advise private and public organizations on such matters as diverse global trends, possible scenarios, emerging market opportunities and risk management. Futurist is not in the sense of the art movement futurism.

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.

There are a number of organizations that specialize in this field including the World Future Society.

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 Jouvenels The Art of Conjecture in 1963 and Dennis Gabors 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 the late 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, trend analysis, and other disciplines.

Futures studiessometimes referred to as futurology, futures research, and foresightcan be summarized as being concerned with three Ps 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. Pre-conventional futurists (see below) would generally not. And while religious futurists, astrologers, occultists, New Age diviners, 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.

Several authors have become recognized as futurists. They research trends, particularly in technology, and write their observations, conclusions, and predictions. In earlier eras, many futurists were at academic institutions. John McHale, author of The Future of the Future, published a Futures Directory, and directed a think tank called The Centre For Integrative Studies at a university. Futurists have started consulting groups or earn money as speakers, with examples including Alvin Toffler, John Naisbitt and Patrick Dixon. Frank Feather is a business speaker that presents himself as a pragmatic futurist. Some futurists have commonalities with science fiction, and some science-fiction writers, such as Arthur C. Clarke,[4] are known as futurists.[citation needed] In the introduction to The Left Hand of Darkness, Ursula K. Le Guin distinguished futurists from novelists, writing of the study as the business of prophets, clairvoyants, and futurists. In her words, a novelists business is lying.

A survey of 108 futurists[5] found the following shared assumptions:

The term has also been used to refer to popular electronic music acts who emerged in the 1970s, such as Orchestral Manoeuvres in the Dark and The Human League.[6][7]

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Futurist Wikipedia

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Italian Futurism Design: History and Examples ~ Creative …

Posted: December 3, 2018 at 10:47 am

Futurismwas an artistic and social movement in early 20th-century Italy that put an emphasis on themes like technology, speed, and youthfulness. Given these themes, objects like cars, planes, and industrial cities were popular. Futurism sought to cut ties with the past and move the Italian design movement intrepidly to the modern. While Futurism was a very uniquely Italian design movement, there were nonetheless strains of the same ideas that popped up simultaneously in Russia, Belgium, and the UK.

To be a Futurist meant you had wide-ranging influence and skill: members of this design movement practiced across various design and artistic scopes. These included graphic design, painting, interior design, ceramics, sculpture, textiles, film, fashion, and architecture. Due to its wide range of influence, Futurism ended up impacting many other notable design trends.

History still remembers this highly interesting period of Italian design as a radical movement that attempted to chart its own course and ended up leaving its fingerprints on many aspects of modern Western culture.

This movement can be traced back to a particular man and location. Filippo Tommaso Marinetti founded this design trend back in 1909 in Milan. An art theorist and poet, Marinetti was the author of the Futurist Manifesto (1909) as well as the Fascist Manifesto, later on.

Described for the first time in his Futurist Manifesto, Futurism was envisioned by Marinetti as a stalwart rejection of everything that made up the past. Springing forth from its pages was a philosophy that praised machines, speed, youth, industry, and violence while pushing for a cultural modernization of Italy.

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Central to Marinettis viewpoint was the philosophy that humanity should triumph over nature, specifically through technology. That explains why the Futurists admired manmade concepts like machines and industry, as opposed to design movements like Art Nouveau, which put a significant emphasis on the organic beauty of nature. Interestingly, Art Deco, which appeared around the same time as Futurism, deftly combined natural and machine-based elements to create a fusion of the best of both worlds.

To the Futurists, being original was the most important design element of all, which is why they demanded complete severance with anything of the past. Originality was so important to them, that they believed it should come at all costs, even through violencewhich is why it was such a radical design movement.

Contemptuously, they derided their critics for being useless, defied the traditional notions of good taste, and put their faith in science (again, the tie-in to their obsession with technology and machines).

By 1911, Futurists broke ground in painting, utilizing the technique of Divisionism to gain attention. This was characterized by separating colors into singular groups or dots that then visually interacted. Some of the early, prominent painters who adopted the mantle of Futurism included:

There was only a relatively small and hardcore number of these artists who moved toward this new design style.

At the time, Cubism presented itself as the technique of abandoning perspective, blending the foreground into the background, and showing subjects from different and distorted angles. Severini was exposed to this visual style and brought it back with him to Italy. As a result, Futurism from then on borrowed from Cubism.

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At this point, the Futurist painters started producing noteworthy works of art, such as:

By 1913, the Futurists had embraced sculpture as their new creative outlet. Boccioni especially wanted to capture the three-dimensional space to showcase his Futurist ideas. One of his more famous pieces was Unique Forms of Continuity in Space, a bronze sculpture that highlights movement and fluidity. Note, again, the tie-ins to one of the central themes of Futurism: speed (movement). Interestingly, this sculpture is immortalized today on the back of Italys 20-cent euro coin and on display in Londons Tate Modern, the famous modern art gallery.

Boccioni was joined by Balla in trying to carve out a niche for Futurism in sculpting. Balla did this by doing something very original with his sculptures: they were abstract reconstructions fashioned from different materials. Because of Futurisms obsession with speed and technology, they were allegedly moveable and able to make noise. Balla moved to sculpting to express his admiration of motion because he believed that using a two-dimensional medium (read: painting) didnt sufficiently allow him to represent the dynamic nature of speed the way he wanted.

Though Futurism was still a very young design movement, by 1914 a schism emerged between its two most influential camps: the Milan artists (that included Boccioni and Balla) and the Florence group that centered around Carra. Essentially, the conflict was about design differences and a struggle for control over the direction of Futurism. This schism would foreshadow looming troubles for this new movement, which would actually soon come to an abrupt and harsh end.

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The outbreak of World War I in 1914, which Italy entered in 1915, saw a number of its principal members enlisting (and some getting killed in service). Though Futurisms philosophy had always been rooted in the rejection of the past with regard to design, and its admiration of speed, machines,and technology, its founders hadnt been overtly political until right before the start of the war.

In early 1914, many Futurists started to speak out against the Austro-Hungarian empire, one of the principal belligerents of the war against whom Italy would be fighting. Their activities included tearing up Austrian flags in protest and proudly waving Italian flags. This increasing patriotism and nationalism led to many of their members signing up for service.

At the same time, some Futurists actively abandoned this now-sputtering movement, with the Florence group centered around Carra officially withdrawing from Futurism. Severini also abandoned Futurism, turning his attention full-time to Cubism, which he originally brought back with him to Italy after a trip to Paris, years earlier.

When Boccioni was killed in action in 1916, it officially signaled the death knell of Futurism. Though Marinetti, who also saw action on the border of Italy and the Austrio-Hungarian empire, attempted to revive Futurism after the war, he had only very limited success. Futurism was eventually linked to fascism in post-World War I Italy, which helped the remaining Futurists get work and contribute to vital architecture in Italy. However, after fascisms defeat in World War II, any remaining Futurists were essentially blacklisted in their careers since few wanted to work with members associated with a discredited and ruined political ideology.

In all, Futurisms heyday lasted scarcely a decade or so, from Marinettis official founding of it in his 1909 manifesto to its eventual end, brought about by World War I, less than a decade later.

So far, weve talked about the main themes of this short-lived design movement, which were:

The Futurists came up with various techniques and philosophies to showcase their important themes to their audience.

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For example, thanks to what they called universal dynamism, Futurist art and design was based on the idea that objects werent considered distinct or separate from other objects around them or their environment. In their struggle to carve a unique path for their movement, they also borrowed from the principles of Divisionism. Divisionism was defined by:

Other traits found in Futurist art and design include:

To learn more about this styles characteristics and take inspiration from them, see our selection of Futurism-inspired digital assets:

Though short-lived, Futurism contributed interesting approaches to graphic design that are still captivating to look at today.

The place to start is the Futurists ownFuturist Manifesto, which was published in 1909 in both Bolognas Gazzetta dellEmilia and Paris Le Figaro newspapers.

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When we look at the papers design in the early 20th century, we see:

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A few years after the founding manifesto, the Futurists again released another manifesto, this time, it was to communicate their belief system when it came to painting. It was titled the Technical Manifesto of Futurist Painting and published in 1914. Looking at its layout, we see other Futurist touches of graphic design, like:

Another noteworthy contribution is French poet Guillaume Apollinaires posthumous 1918 book, Calligrammes: Poems of Peace and War: 1913 1916. It displays a graphic design based on the unique art form of a calligram, or a visually arranged text that creates an image related to the meaning of said text. For example, a calligram relating to Moby Dick could be visually represented as a sperm whalewith the text forming the outline of the whale.

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Apollinaires book featured visual poetry that showcased how arranging typeface can produce just as much meaning in the work as the texts individual characters and words.

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Marinetti, Futurisms founder, managed a poetry journal from 1905 to 1909. One of its last issues was solely dedicated to Futurism, which featured glowing reviews from the press and the inclusion of the Futurist manifesto.

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Marinetti also wrote a tome titled Zang Tumb Tumb. Adrianopoli, Ottobre 1912, published in 1914. This book features his report of Turkish city Adrianoples (currently Edirne) siege, when he was a war correspondent. The books title is an allusion to the sounds of battle: bombs, shelling,and explosions. Note how the book covers design is heavily stylized with elliptical, crooked, and diagonal type layouts.

Fortunato Depero, a graphic designer, sculptor and painter, experienced notable success in designing covers for big American magazines during the 1920s and 1930s. His designs appeared on covers for Vogue, Vanity Fair, and The New Yorker, to name just a few.

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He also designed posters for the subway.

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Overall, looking at his designs, youll notice:

If you want to recreate some of these design details, check out these unique Futurism-inspired fonts in the marketplace:

No look at Futurist graphic design would be complete without mentioning Antonio SantElia, a Futurist architect who is an anomaly because he left behind practically no finished architectural works. However, his big contribution to graphic design turned out to be the volume of design sketches and illustrations of his plans that he left behind.

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Another Futurist who was killed in World War I, SantElia was inspired by American industrial cities, which led to his many sketches and drawings for a Futurist New City that was machine-and technology-heavy. These sketches are today on display in Como, his hometown.

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When we look at his visionary illustrations, we see the following qualities:

Then, theres Fortunato Depero, a Futurist graphic designer and painter.

Aeropittura was a highly interesting style of art because it was produced by the Futurists when their movement was already well in decline, from about 1929 to the 1940s. In spite of its production in the dying days of Futurism design, aeropittura is still a gripping and visually striking approach to painting.

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Here, the subject matter was airplanes and aerial landscapes, mainly coming from the remaining Futurists own experiences with flight. The way Futurists approached aeropainting was diverse, as they incorporated the following themes in their creations:

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Aeropittura generally included the following characteristics:

Our look at Futurism design wouldnt be complete without covering the styles contributions to architecture, which was also a major focal point for the short-lived movement. Futurist architecture was characterized by the following traits:

Over its short life, Futurist architecture produced three manifestos, but relatively few works. Its first recognized building was the Lingotto factory, designed by architect Giacomo Matte-Trucco. Once housing an automobile factor for Fiat and opened in 1923, the structure was the biggest car factory in the world at the time. What was extremely unusual about it was the way cars were built: raw materials were brought in on the ground floor, and the vehicles built on a line that gradually went up the buildings five floors. The finished cars came out on the rooftop level.

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Since then, Futurist architecture eventually morphed into neo-futurism, starting in the 1960s and 1970s. This neo-futurism is defined as an adjunct to technology, building previously impossible shapes and forms thanks to new materials and computer technology.

Futurism design is almost a paradox of sorts. Its still remembered today for its influence on western culture, yet it lasted a very short time and was then increasingly ostracized by the world because of its association with fascism.

Undoubtedly, the Futurist revolutionaries had radical ideas that turned the design world on its head, but the movements fascination with violence and war proved to be its undoing, as many of its prominent members were killed in World War I.

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Afrofuturism: The genre that made Black Panther – CNN

Posted: December 3, 2018 at 10:47 am

Black Panther, set in the near-futuristic fictional African nation of Wakanda, is a captivating Afro-vision. A world of monorails, flying cars and medical marvels -- all made possible by the discovery of vibranium, a superpower metal.

The film reimagines history. Wakanda is a secretive African country that was never colonized and is the most advanced nation in the world.

While Black Panther breaks new ground in Hollywood, the film itself owes its vision to Afrofuturism, a 20th century cultural aesthetic that subverted sci-fi -- a white-dominated genre -- by placing black people front and center in futuristic worlds.

"The one characteristic of the Wakandan people as far as costumes go is Afrofuturist," Ruth E. Carter, costume designer for Black Panther, told CNN.

Afrofuturism intersects science fiction, technology and ancient African mythologies.

"It's people of African descent looking at themselves in the future and what their society and their culture will look like ten years from now, twenty years from now, a thousand years from now," Fikayo Adeola, founder of arts and animation company Kugali, told CNN.

The history of Afrofuturism

From the 1950s, American jazz musician Sun Ra -- who is considered one of the earliest proponents of Afrofuturism -- drew on ancient African influences as well as space imagery in his music and performances.

"This was in an era where African-Americans looked very much like second class citizens. Afrofuturism was a tool that they could use to imagine a better future, and the movement continued into the contemporary era," said Adeola.

Afrofuturism spanned literature too.

"It was very much up to these early African-American authors to say that actually 'no, there are other people in the future,'" Adeola explains.

The afrofuturistic superhero

The early comics attempted to subvert African stereotypes.

"You always had people in loincloths that were very tribalistic. Black Panther is very much an attempt to tackle that stereotype.

"The early comics didn't necessarily do it that well because you had Wakanda -- which is a really technologically advanced nation -- but at the same time you still saw people in loincloths and in rural settings," Adeola told CNN.

The comic book progressed.

"As the comic evolved Marvel has been able to consolidate it by keeping Wakanda very traditional whilst also acknowledging the fact that it is the most technologically advanced nation in the Marvel universe," Adeola said.

African Afrofuturism

Afrofuturism has predominantly been in the US, but African artists are increasingly visible, carving their own unique interpretations.

"Afrofuturism roots are very much African-American but there has been a new renaissance in Africa with people trying to create works of science fiction that are inspired by our culture and aesthetics," Adeola said.

"We had to wait quite a long time for this. I suppose the artists and the writers that are creating Afrofuturist narratives are just not patient enough to wait for Hollywood to do it for them. And that's one of the biggest inspirations behind the movement in Africa," Adeola said.

But while the wait was long, the movie has brought Afrofuturism into the mainstream.

"We need our own science fiction to give black people and African people our own voices through this wonderful medium," Adeola said.

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Futurism : a modern focus : the Lydia and Harry Lewis Winston …

Posted: December 3, 2018 at 10:47 am

http://www.worldcat.org/oclc/827248> # Futurism : a modern focus : the Lydia and Harry Lewis Winston Collection, Dr. and Mrs. Barnett Malbin.a schema:Book, schema:CreativeWork ;library:oclcnum "827248" ;library:placeOfPublication http://id.loc.gov/vocabulary/countries/nyu> ;schema:about http://viaf.org/viaf/88481120> ; # Barnett Malbinschema:about http://viaf.org/viaf/62787407> ; # Lydia Winstonschema:about http://dewey.info/class/709.04/> ;schema:about http://viaf.org/viaf/275913556> ; # Harry Lewis Winstonschema:about http://experiment.worldcat.org/entity/work/data/1722402#Topic/futurisme_art_catalogues_d_exposition> ; # Futurisme (art)--Catalogues d'expositionschema:about http://id.worldcat.org/fast/936780> ; # Futurism (Art)schema:about http://id.worldcat.org/fast/815314> ; # Art--Private collectionsschema:about http://experiment.worldcat.org/entity/work/data/1722402#Topic/futurisme_art_expositions> ; # Futurisme (Art)--Expositionsschema:about http://experiment.worldcat.org/entity/work/data/1722402#Person/winston_harry_lewis> ; # Harry Lewis Winstonschema:about http://id.loc.gov/authorities/classification/N6494> ;schema:about http://experiment.worldcat.org/entity/work/data/1722402#Person/winston_lydia_1897_1989> ; # Lydia Winstonschema:about http://experiment.worldcat.org/entity/work/data/1722402#Topic/private_collections_new_york_state_new_york> ; # Private collections--New York (State)--New Yorkschema:author http://viaf.org/viaf/62817695> ; # Marianne W. Martinschema:author http://viaf.org/viaf/13701322> ; # Linda Shearerschema:bookFormat bgn:PrintBook ;schema:contributor http://viaf.org/viaf/62787407> ; # Lydia Winstonschema:contributor http://viaf.org/viaf/88481120> ; # Barnett Malbinschema:contributor http://viaf.org/viaf/88041744> ; # Thomas M. Messerschema:contributor http://viaf.org/viaf/275913556> ; # Harry Lewis Winstonschema:creator http://viaf.org/viaf/141479275> ; # Solomon R. Guggenheim Museum,schema:datePublished "1973" ;schema:description "Preface and acknowledgements / Thomas M. Messer -- Beyond futurism: The Winston/Malbin Collection / Linda Shearer -- Futurism now / Marianne W. Martin -- Works in the exhibition -- Paintings, sculpture, works on paper -- Umberto Boccioni: drawings and prints --Documents and miscellany in the exhibition -- Documentation -- A listing of the collection."@en ;schema:exampleOfWork http://worldcat.org/entity/work/id/1722402> ;schema:genre "Exhibition catalogs"@en ;schema:inLanguage "en" ;schema:isSimilarTo http://www.worldcat.org/oclc/643571203> ;schema:name "Futurism : a modern focus : the Lydia and Harry Lewis Winston Collection, Dr. and Mrs. Barnett Malbin."@en ;schema:productID "827248" ;schema:url http://www.guggenheim.org/new-york/exhibitions/publications/from-the-archives/items/view/174> ;wdrs:describedby http://www.worldcat.org/title/-/oclc/827248> ;.

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