El-P makes beats that are chunky and abrasive, full of machine-age ennui.
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In 2014, MIT economists Andrew McAfee and Erik Brynjolfsson created a new zeitgeist with a book declaring The Second Machine Age — a time of technological advancement as revolutionary as the first machine age that saw the widespread adoption of electricity and the automobile.
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We should expect political and economic changes to result from the new machine age, too.
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The other is a composite of Machine Age terms describing technology, drawn from 1920s-1930s American periodicals.
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Humans have been designing and riding ridiculous means of transit since the dawn of the machine age.
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We're now entering a cleaner and greener second machine age, powered by the computer and its kin.
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IN 2014 Andrew McAfee and Erik Brynjolfsson of the Massachusetts Institute of Technology published "The Second Machine Age".
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So the machine age brought with it this notion of a job and the sanctity of a job.
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Yet there are just as many works using sacred imagery to depict the human toll of the machine age.
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Confusing efficiency with beauty During the Machine Age, the demand for efficiency became the driving force of the modern era.
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Precisionism was the springboard for thinking about larger themes around our relationship to technology during the Machine Age and today.
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While often described as a second machine age, our current historical moment is better understood as a second industrious revolution.
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Plus the author of the "Second Machine Age" Erik Brynjolfsson on why governments are failing to address the downsides of automation.
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It seems the visitors of this exhibit have more optimistic views of tech than the media during the Machine Age did.
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But their oil greased the wheels of America's machine age after the Civil War, replacing whale oil as a cheaper alternative.
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Conservatives like John Ruskin and later T. S. Eliot arose to preserve culture from the soulless pragmatism of the machine age.
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Mr McAfee builds on "The Second Machine Age", the bible of techno-optimism he co-authored with Erik Brynjolfsson in 2014.
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He sees sustainability and social impact emerging as major themes and believes that the 2020s will truly become the machine age.
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As in their highly praised 'The Second Machine Age,' McAfee and Brynjolfsson approach this complex topic with directness, insight, and clarity.
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But with the "second machine age" fully underway, the pace of acceleration for the means to explore space is picking up exponentially.
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We know that before the machine age, people slept in a variety of ways, including (famously) "segmented sleep," or sleep in two shifts.
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The authors of the most influential recent business book, "The Second Machine Age", work across the Charles river at the Massachusetts Institute of Technology.
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None of the suggestions laid out in The Second Machine Age — liberalizing immigration policy or investment in infrastructure, education and research — have been pursued.
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According to the high-priests of the Singularity, for instance, a God-like super-intelligence will arise, the Christ of the golden machine age.
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The sixth section, awkwardly titled "Towards a Machine Age and Looking Forward," is given over to the sleek styling of the essentialist International Style.
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We know, in the new machine age, the number of human hands that have to touch a prior authorization probably ought to be zero.
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As noted in the 2014 book, "The Second Machine Age," leaps in AI, machine learning and, more recently in areas such as image recognition, abound.
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You get a nostalgia trip: a reminder, in an era dominated by alienating interactions with digital devices, of the tactile satisfactions of Machine Age technology.
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She enjoys working with graphic elements from the Art Nouveau, Art Deco, Machine Age, Egyptian Revival and Orientalist periods to evoke the 1920s, 1930s and 1940s.
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In the machine age, that allocation would best begin with a basic income, facilitated by fully monetizing our country's natural resources for citizens to financially utilize.
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"The Second Machine Age" by Erik Brynjolffson and Andrew McAfee "The Second Machine Age" by Erik Brynjolffson and Andrew McAfee I would come to wonder, is philosophizing about "the future of work" just a way the richest, most influential people in the world convince themselves they care deeply about their employees, when what they're doing is more like strategizing how to continue to be exorbitantly powerful in the decades to come?
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Most of the principles of most machines developed in the machine age were principles that were found in the human body … We're all like bone machines, I guess.
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According to The Second Machine Age, by Erik Brynjolfsson and Andrew McAfee, this has been a slow train coming since the 1980s, when the PC invaded offices and homes.
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To Erik Brynjolfsson, coauthor of The Second Machine Age, it makes sense that Momentum Machines is opening its own restaurant rather than shopping its bot around to existing chains.
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It's a delightful artifact of the machine age and the can-do optimism of its era, but I'm generally suspicious of rules, especially ones having to do with art.
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The bronze and plaster lighting fixtures, created by Philippe Anthonioz, who worked with Giacometti, suggest the primitive past — the dawn of the machine age and the advent of Deco.
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Drum, of Mother Jones, proposes universal basic income, creative taxation, and socializing ownership of intelligent machines as ways to deal with mass unemployment and inequality in the new machine age.
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For its inaugural exhibition, Europeana Photography's curators have organized Industrial Photography in the Machine Age, which describes and analyzes images of factories and factory workers, construction sites, and manufactured objects.
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But the machine age brought with it those kinds of challenges, those kinds of new things of showing up for work every day, and it also brought this whole notion of unemployment.
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Erik Brynjolfsson, the director of M.I.T.'s Initiative on the Digital Economy and a co-author of "The Second Machine Age," praised Mr. Yang for bringing automation's economic effects into the conversation.
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That development would be decisive for Jean Tinguely, Mark di Suvero and other postwar sculptors, though while later kinetic art could espouse a machine-age bluntness, Calder's were always lighter and more biological.
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Hornick channels the bear and warns the woman of a nearby hunter with a gun, which she cites as a symbol of the machine age, while equating the lake, woman, and bear with nature.
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The store's design was inspired by the seminal 1934 Museum of Modern Art exhibition "Machine Age," which put industrially designed objects like springs, ball bearings and propellers in the context of an art museum.
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One of the world's leading authorities on the economic consequences of new technology, McAfee is also the co-author of the 2014 bestseller The Second Machine Age and the just published Machine, Platform, Crowd.
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MIT's Andrew McAfee, co-author of The Second Machine Age, tells Axios that companies are not creating the middle-class jobs that were the backbone of the economy for more than a half-century.
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LaBeija collaborated with stylist and designer Kyle Luu to create costumes with sculptural elements that over exaggerate the feminine form, drawing a parallel between Shlemmer's commentary on the machine age and contemporary conversations on body enhancements.
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We've got to make sure we have an account of economic change, as well as social and political structures to handle that change, especially in the new machine age with automation transforming our relationship to the workforce.
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We've got to make sure we have an account of economic change, as well as social, and political structures to handle that change, especially in the new machine age with automation transforming our relationship to the workforce.
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Let's flash back to the Machine Age, the period in American history that gave us the assembly line, the first nonstop transcontinental flight, regular radio broadcasts, and the first robot capable of performing more than 20 movements.
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The transient structures that dotted the 19th-century landscape to abet in its conquest evoke, from our post-industrial vantage, the specter of a more despondent reality: the ruins of a machine age whose energies are now depleted.
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Duality of machines as light and dark The de Young collection is a balance between the anxieties Americans felt toward technology during the Machine Age, mixed with the hope that technology brought to a more connected, convenient world.
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"There's definitely a burst of activity in ROS downloads and especially China, but really everywhere," MIT's Erik Brynjolfsson, author of the Second Machine Age and one of the researchers behind the AI Index report, told me in an email.
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Her parents' multidisciplinary tastes also still inform her work, whether it be the Jean Després jewelry that her mother persuaded the Machine Age designer to part with in his retirement, or the Arne Jacobsen cutlery they used to eat family dinners.
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The Cult of the Machine exhibit at the de Young museum in San Francisco is a reflection of attitudes toward machines and robotics during the Machine Age, the period between the two world wars during which industrial efficiency was the reigning mantra.
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It was then, at the cusp of the 20th century, that many great designers, including Louis Cartier, rejected both the bold, colorful necklaces and cuffs crafted at the dawn of the machine age as well as the organic lines of Art Nouveau.
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In a "cheeky nod," she said, to a topic the group seems to hold dear, Ms. Seiden sent her recipient a vintage vibrator: a formidable, Machine Age relic called the Vitilator she'd bought on eBay for $15, the price cap the group had set.
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This new era is what MIT faculty members Erik Brynjolfsson and Andrew McAfee call "The Second Machine Age" — a time in which technological forces are driving this reinvention of the economy and businesses and individuals must learn to race with machines in order to ensure future prosperity.
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A basic income is about national and state ownership rights of all citizens and the free market creating a birthright paycheck that protects us all in the machine age, and I believe it's in direct support of a broad interpretation of the libertarian non-aggression principle.
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" This philosophy extended to her own appearance, too: "I had a street urchin's haircut," she writes in her memoir Charlotte Perriand: A Life of Creation (1998), and she wore a trademark necklace made of chromed copper ball bearings: "a symbol of my adherence to the … machine age.
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Mr. Bertoia, perhaps best known for the 1952 diamond-shaped steel-wire chair he designed for Knoll, a furniture company, was initially an artist of the Machine Age, and was influenced by the Futurism of his native Italy, where he was born in 1915, said William Valerio, the museum's director.
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Some more nuanced FoW books, like The Second Machine Age, by MIT Professors Erik Brynjolffson and Andrew McAfee, take the optimistic perspective on tech — that "brilliant machines" will soon help create a world of abundant progress, exemplified by the success of Instagram and the billionaires that company and its business model created.
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Several of the masks are tributes to Modernist artists involved in either Yeats's or Pound's sphere, whether a gleaming steel mask after Constantin Brâncuși's swooping portrait of Nancy Cunard (1925–27), or a "Rock Drill" character that evokes the haunting violence of World War I, echoing the Machine Age angles of Jacob Epstein's Vorticism sculptures.
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We are living in the midst of a "second machine age," to quote the title of the influential book by MIT researchers Erik Brynjolfsson and Andrew McAfee, in which routine work of all kinds—in manufacturing, sales, bookkeeping, food prep—is being automated at a steady clip, and even complex analytical jobs will be superseded before long.
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Now, what we are facing is a major technological upheaval within global capitalism, in which the old-fashioned way of thinking about capital and labour and their tussle - which is central to social democracy, or ought to be if it is to be revived - is becoming disrupted, as they say, by the third or fourth machine age.
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In their book, "The Second Machine Age," Erik Brynjolfsson and Andrew McAfee, both economists at M.I.T., don't hold out much hope for this broad class of workers: Rapid and accelerating digitization is likely to bring economic rather than environmental disruption, stemming from the fact that as computers get more powerful, companies have less need for some kinds of workers.
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"At present, machines are not very good at walking up stairs, picking up a paper clip from the floor, or reading the emotional cues of a frustrated customer" is how the M.I.T. researchers Erik Brynjolfsson and Andrew McAfee put it, in "The Second Machine Age: Work, Progress, and Prosperity in a Time of Brilliant Technologies" (Norton).
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You're a cog, but certainly since we think of it in the machine age, factory work, which by the way is very appealing to a lot of people because people work for different reasons, and I deal with that in several chapters in the book about the psychology of work, why do people do different jobs and what do they seek in a job.
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Two singles from Machine Age Voodoo were released, "Metal Dance" and "Junk Funk", of which the latter was later renamed to "Machine Age Voodoo" on the US release of the album.
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Léger's technique underscores this message, with flat brushwork emulating mass production. The disjointed figures force rapid visual shifts, which simulates the increasing sensory complexity of the machine age.
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Considered to be at its peak in the time between the first and second world wars, the Machine Age overlaps with the late part of the Second Industrial Revolution (which ended around 1914 at the start of World War I) and continues beyond it until 1945 at the end of World War II. The 1940s saw the beginning of the Atomic Age, where modern physics saw new applications such as the atomic bomb, the first computers, and the transistor. The Digital Revolution ended the intellectual model of the machine age founded in the mechanical and heralding a new more complex model of high technology. The digital era has been called the Second Machine Age, with its increased focus on machines that do mental tasks.
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Teague's best-known book, Design This Day- The Technique of Order in the Machine Age, was first published in 1940,Teague, Walter Dorwin. Design This Day: The Technique of Order in the Machine Age.(original title) New York: Harcourt, Brace & Co., 1940; reprinted Design This Day (abridged) by Teague, 2006. as the first book on the whole subject of industrial design, tracing the development of modern design and outlining necessary techniques to the solution of design problems.
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Her work was featured in the Museum of Fine Arts, Boston and the Metropolitan Museum of Art's joint 2008 exhibit, "British Prints from the Machine Age: Rhythms of Modern Life, 1914–1939."Clifford S. Ackley, British Prints from the Machine Age: Rhythms of Modern Life, 1914–1939 (2008, exhibition catalog). Prints by Grosvenor School artists, including Tschudi, proved popular at a 2012 auction in London.Colin Gleadell, "London Original Print Art Fair: Prints That Move Like Lightening"[sic], The Telegraph (17 April 2012).
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Mr. Frank preserved the house in its totality — equipment, furniture, fixtures, even original textiles and wall coverings. It’s all intact. It’s a very exquisite balance of architectural proportions, textures and colorations with machine- age aesthetics.
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He also performed with the electronic duo TM Eye from 2010-2012 with Pittsburgh producer/musician and operator of Machine Age Studios, Preslav Lefterov. TM Eye released one mix tape "Ecolectro Mix" (Deer Skull Records) and two singles "Deepwater Horizon/Sundown" (Cass Records) and "Exposure/Pollution" (Machine Age Records). Boyd was credited with co-authorship and guitar on !!!'s "Bam City" from their 2015 album As If (album) and collaborated with Warm Drag on their 2018 self-titled LP on In The Red Records.
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Naomi released "Machine Age," the first single from the album, via Bandcamp on January 19, 2018. It was described as both a "protest song" by INTO magazine and a "peaceful plea" by Broadway World. Billboard called the song "A poignant reflection on Trump's first year in office", Jubilant wrote "'Machine Age,' by singer-songwriter Terra Naomi may be the first truly great song to come at the expense of the world's collective sanity", Women In Rock wrote "Terra Naomi is the voice that all women need right now".
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The Machine Age is the second EP by Chemlab, released in 2003 by Underground, Inc. The EP was made available for a limited time at live shows of the Pigface "United" tour and through the official Chemlab website.
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Fry's writings include critical and descriptive books on town planning and architecture, notably his Art in a Machine Age. His last book was the Autobiographical Sketches of his life from boyhood up to the time of his marriage to Jane Drew.
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Andrews' contemporaries, fellow students of Claude Flight, include Swiss artist Lill Tschudi, and Australian artists Dorrit Black, Ethel Spowers, and Eveline Syme. The Grosvenor School style was influenced by elements of cubism, futurism and vorticism – capturing the machine age through dynamism and movement.
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In this building, the flow utilizes gravity and the manufacturing process flows form the upper floors to the packaging area down below. The machine age aesthetic developed by Le Corbusier is legible in many of the design choices of Rudolph’s Endo pharmaceuticals building.
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247, Why Viewers Watch: A Reappraisal of Television's Effects, Jib Fowles, Sage Publications, 1992, . Some of these means and effects are considered artifacts of the Machine Age of the 1920s and 1930s. Today the interactions between countries worldwide have allowed the opportunity for intercultural dialogue.
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The Open Hand (La Main Ouverte) in Chandigarh is a frequent theme in Le Corbusier's architecture, a symbol for him of "peace and reconciliation. It is open to give and open to receive". Le Corbusier also stated that it was a recurring idea that conveyed the "Second Machine Age".
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Josef Hoffmann's son, Wolfgang Hoffmann, together with his father's former student Pola Weinbach Hoffmann (later Pola Stout), emigrated to New York in 1925 and made significant contributions to American modernism.Wilson, Richard Guy; Pilgrim, Dianne H.; Tashjian, Dickran; Brooklyn Museum (1986). The Machine Age in America 1918–1941. New York: Harry N. Abrams, Inc. .
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The new middle class wanted beautiful, but affordable jewelry. The demand for jewelry of this type coincided with the machine-age and the industrial revolution. The revolution made the production of carefully executed replicas of admired heirloom pieces possible. As the class structure in America changed, so did measures of real wealth.
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Early developments in user experience can be traced back to the machine age that includes the 19th and early 20th centuries. Inspired by the machine age intellectual framework, a quest for improving assembly processes to increase production efficiency and output led to the development of major technological advancements, such as mass production of high-volume goods on moving assembly lines, high-speed printing press, large hydroelectric power production plants, and radio technology to name a few. Frederick Winslow Taylor and Henry Ford were in the forefront of exploring new ways to make human labor more efficient and productive. Taylor’s pioneering research into the efficiency of interactions between workers and their tools is the earliest example that resembles today’s user experience fundamentals.
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Henry Disston & Sons, Inc, saw blade advertisement in American Machinist, 1920. Saturday Evening Post, 1921, listing the products offered by the company at the time. Disston Saw Works of Philadelphia was one of the better known and highly regarded manufacturers of handsaws in the United States. During the Machine Age, as Henry Disston & Sons, Inc.
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The Street Enters the House by Umberto Boccioni (1912). Futurism was an Italian art movement that flourished from 1909 to about 1916. It was the first of many art movements that tried to break with the past in all areas of life. Futurism glorified the power, speed, and excitement that characterized the machine age.
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There is a clear dichotomy between early industrial SPK (1978–83) and the more commercial music later favoured by Revell. Later releases, such as Machine Age Voodoo (1984), were more synthpop- oriented than industrial. Still later, the group moved into electronic orchestral work, with the release of Zamia Lehmanni: Songs of Byzantine Flowers (1986).
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His first achievement was the design for the Broadway Savings Bank, South Boston, in the early 1830s. Bryant flourished in an era of what Roger B. Reed calls "unregulated building," when "traditions of craftsmanship were being replaced by products of the machine age."Reed, p.1 He created a new template for the construction of buildings in New England.
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In 1909 he built the 25,000 square foot, concrete building, at 550 Gregory Ave, Weehawken which still exists today. Business expanded after WW1 and eventually became Robert Reiner Inc. The broader context of Reiner’s career was the machine age, which is also known as: the second industrial revolution. More specifically he worked in the machine embroidery industry.
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Mattioli: Unterwegs zu einer imperialen Raumordnung in Italienisch-Ostafrika. In: Für den Faschismus bauen, pg. 366 In the 1930s, the city map became the most important topic of discussion in the field of modern architecture. From the point of view of the international representatives of the New Building (Neues Bauen) Movement, cities had not yet adapted to the demands of the machine age.
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She was part of the "Council of Three," with her husband and brother-in-law, cinematographer Mikhail Kaufman. They were regarded as montage theorists and together, they "proclaimed a 'death sentence' on the cinema that came before, faulting it for mixing in 'foreign matter' from theater and literature."Lim, Dennis (April 8, 2011). Machine Age Poet, Born in Revolution, Stifled Under Stalin.
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Hess’ research has focused on organizational and human high performance. Specific research projects have included: The Organic Growth Index; The Characteristics of Consistent High Organic Growth Public Companies; The Risks of Growth; The Empirical Basis for U.S Growth Beliefs; The Challenges of Scaling a Private Business; Growth and Innovation Systems - Culture and Processes; Learning Systems; and The Organization of the Future in the Smart Machine Age.
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Fred Herbert Colvin (1867–1965) was an American machinist, technical journalist, author, and editor. He wrote, co-wrote, edited, or co-edited many periodical articles, handbooks, and textbooks related to engineering, machining, and manufacturing. His autobiography, Sixty Years with Men and Machines, provides a thorough and colloquial look into the decades of 1880 to 1950, giving insight into the culture of the Machine Age.
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In 1926 Perriand married her first husband, Percy Kilner Scholefield, and they converted their attic apartment into a 'machine age' interior. In 1930 Charlotte and Percy separated and she moved to Montparnasse. She had a daughter born in 1944, Pernette, with her second husband, Jacques Martin, who worked alongside her mother for over 25 years. She died three days after her 96th birthday in 1999.
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After obtaining an engineering degree at the Northwestern University, and joined the US Navy to serve in World War I. After graduation he joined the McGraw-Hill Publishing company as Assistant editor and later editor for the Factory and Industrial Management journal. He continued to edited the magazine in the 1930s when it was renamed Factory Management and Maintenance.Howard P. Segal (2008). Recasting the Machine Age: Henry Ford's Village Industries. p.
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Title page for Tschichold's Typographische Gestaltung using City Medium, for the Benno Schwabe & Co. publishing house, 1932. City is a slab serif typeface designed by Georg Trump and released around 1930 by the Berthold type foundry in Berlin, Germany. Though classified as a slab serif, City displays a strong modernist influence in its geometric structure of right angles and opposing round corners. The typeface takes inspiration from the machine age, and industry.
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The Open Hand (La Main Ouverte) is a recurring motif in Le Corbusier's architecture, a sign for him of "peace and reconciliation. It is open to give and open to receive." It represents what Le Corbusier called the "Second Machine Age".Frommer's India (2010) Pippa de Bruyn, John Wiley & Sons, p613 Two of the six monuments planned in the Capitol Complex which has the High Court, the Assembly, and the Secretariat, remain incomplete.
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The lobby also contains four elevator banks, each with a different design. The ceiling contains a mural named "Transport and Human Endeavor", commissioned by Edward Trumbull in 1930. The mural's theme is "energy and man's application of it to the solution of his problems", and it pays homage to the Golden Age of Aviation and the Machine Age. The mural is painted in the shape of a "Y" with ocher and golden tones.
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Mena uses sentimental stereotypes of Mexican Indians, white Mexicans, and American tourists alike throughout her stories. She wrote during a time when people were “wary of the machine age many thought the U.S. was moving into” such that “commentators increasingly focused on Indians from both sides of the border as an antidote to the soulless impulse of modernity”.See Padilla, Yolanda (2004). Indian Mexico: The changing face of indigeneity in Mexican American literature, 1910--1984.
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It borders three large storefronts and leads to escalators that go both to the second floor and to the basement. Going from west to east, there are secondary entrances to 34th and 33rd Streets from both the northern and southern corridors, respectively, at approximately the two- thirds point of each corridor. Until the 1960s, an art deco mural, inspired by both the sky and the Machine Age, was installed in the lobby ceilings.
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If only simple people would ignore them and behave always in the jolly way they do on a seashore what a nice world we might have to live in. Luckily nature has a way with her, and we may rest assured that this wretched machine age will all be over in a few years' time. It has grown up as a mushroom, and like a mushroom it has no stability. It will die.
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In closing, the poem's speaker suggests – with an ironic optimism – an escape to "a hell of a good universe next door". The poem relies on coined compound words and other wordplay to carry its meaning. As with many of Cummings's poems, his idiosyncratic orthography and grammar provide an immediacy to the printed words. Like other modernist poets, Cummings uses unusual typography to draw focus to the typewriter as an instrument of the machine age.
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"Recommended Reading", F&SF;, April 1951, p. 112 The writer L. Sprague de Camp, however, declared that Bradbury would improve "when he escapes from the influence of Hemingway and Saroyan", placing him in "the tradition of anti-science-fiction writers [who] see no good in the machine age". Still, de Camp acknowledged that "[Bradbury's] stories have considerable emotional impact, and many will love them"."Book Reviews", Astounding Science Fiction, February 1951, p.
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The architect for the pre-war flats was Alfred G. Church, a British appointed by the colonial government. Block 55, the first block of 20 blocks was done by 1936. Built in the late Art Deco movement, the flats featured a style known as the Streamline Moderne. This style incorporated curved horizontal lines that embodied the machine age of automobiles. As a result, many settlers regarded the buildings as ‘fei ji lou’, or aeroplane flats in Chinese.
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In 1978 he won the Best Supporting Performer in a Non- Feature film for his role in The Machine Age (L'Âge de la machine). During the same era, he was host of a television variety show, Le Ranch à Willie, for Télé-Métropole, and the subject of a documentary film, Je chante à cheval... avec Willie Lamothe, for the National Film Board. He suffered a stroke while performing in Rimouski in 1978,"People in the news".
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The use of harder, metallic materials was chosen to celebrate the machine age. These materials reflected the dawning modern age that was ushered in after the end of the First World War. The innovative combinations of these materials created contrasts that were very popular at the time – for example the mixing together of highly polished wood and black lacquer with satin and furs.Yang, Jian. "Art Deco 1910-39". Craft Arts International, 2003, Issue 59, PP. 84-87.
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Machine Age Voodoo is the third studio album by Australian industrial band SPK, released on November 30, 1984 by WEA Records. It was first released outside the United States until 1985 when it was released by Elektra Records. Produced by Graeme Revell, the album is a radical departure from the band's previous material, leaning more towards synth-pop and dance-rock, rather than industrial music. It is the band's first album to feature Sinan Leong as the lead singer.
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Christopher Green, 2009, Cubism, II. Architecture, MoMA, Grove Art Online, Oxford University Press Le Corbusier, Centre Le Corbusier (Heidi Weber Museum) in Zürich-Seefeld (Zürichhorn) Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world".P. R. Banham. Theory and Design in the First Machine Age (London, 1960), p.
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The use of concrete in its construction and the system of overhead walkways and individual interlinked towers made it extremely innovative. It was rated by Reyner Banham as one of the major architectural achievements of the 1920s in his Theory and Design in the First Machine Age and comparable in scale only to the Dessau Bauhaus and the Van Nelle factory in Rotterdam.(Architectural Press 1972, p. 297). This allowed the structure to fully survive any destruction attempts during the Second World War.
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In 1927, he presented several works at the Machine-Age Exposition in New York. Two years later, he provided illustrations for Au soleil, a travel book by Guy de Maupassant. He also illustrated two works by Jean and Jérôme Tharaud; Marrakech ou les seigneurs de l’Atlas (1924), with engravings by François- Louis Schmied, and L'An prochain à Jérusalem (1929), engraved by . His works may be seen at the Musée Lambinet, the Musée Rolin in Autun, and the Ahmed Zabana National Museum in Oran.
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The park's Georgia Northern #102 steam engine and coal tender End-O-Line Park is nestled on the northern edge of Currie. Founded in 1872 by Neil and Archibald Currie, this place was thought to be the most beautiful country with the Des Moines River moving across the prairie and Lake Shetek in the west. The park is located along Murray County Road 38 near Minnesota Highway 30. The railroads were the first great achievement in transportation of the machine age.
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The previous chapel was completely destroyed during World War II. The previous building was a 4th-century Christian chapel. At the time the new building was being constructed, Le Corbusier was not interested in Machine Age architecture; he felt that his style was more primitive and sculptural. He realized when he visited the site that he could not use mechanized means of construction, because access was too difficult.Germaine Greer (October 17, 2007), A concrete version of dizzy rapture The Guardian.
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Opened on June 20, 1929, financed by Philippe de Rothschild on the estate of his father Henri de Rothschild, the Rothschilds' ambition was to construct the most modern theatre in the world. The architects, Charles Siclis, Henri Just and Pierre Blum, were sent through Europe to research the latest technical developments in theatre design. Graphic artist Jean Carlu designed two well-known posters emphasizing its machine-age image. André Antoine was hired as art director, and Gabriel Astruc as manager.
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In industrial contexts during the Machine Age, the term "automatic lathe" referred to mechanical screw machines and chuckers. Since the maturation of CNC, the implicit dichotomy of "manual versus automatic" still exists, but because CNC is so ubiquitous, the term "automatic" has lost some of its distinguishing power. All CNC machine tools are automatic, but the usage in the machining industries does not routinely call them by that term. The term "automatic", when it is used at all, still often refers implicitly to cam-operated machines.
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Tuggener moves effortlessly between large-format lucidity and grainy, blurred impressionism, in a book that is a decade ahead of its time.” Tuggener continued photographing labour and industry to produce two more book maquettes: Schwarzes Eisen (Black Iron, 1950) and Die Maschinenzeit (The Machine Age, 1952). Burgauer described the latter as a “brilliant and sparkling factual report on the world of the machine, its development, its potential and its limits”. In 1950 he married his second wife, Margrit Aschwanden, a photographer and daughter of Michael Aschwanden.
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Portrait of Wells published in the Popular Science Monthly Wells wrote extensively on current economic issues, especially on tariffs, the theory of money and the currency question, and taxation. His goal was greater efficiency by progressive lowering of costs of production through the application of science. He was the foremost American authority on the economics of the emerging "the machine age." He argued that industrial depressions, with falling prices, were due not to insufficient supply of money, but to sudden and rapid increase in commodities.
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When Wyndham Lewis founded the short-lived Rebel Art Centre, which included Edward Wadsworth and Ezra Pound, Nevinson also joined. In March 1914 he was among the founder members of the London Group. In June 1914 he published, in several British newspapers, with Marinetti, a manifesto for English Futurism called Vital English Art. Vital English Art denounced the "passéiste filth" of the London art scene, declared Futurism as the only way of representing the modern, machine age and proclaimed its role in the vanguard of British art.
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During the Great Depression, he worked for the Historic American Buildings Survey. During this time he became known for his imaginative work in industrial architecture. He combined his decorative training with a rugged functionalism in a series of distinctive warehouses and offices. In the 1940s, his style changed somewhat when he became a proponent of the Streamline Moderne style, "in which the spirit of the machine age and the concepts of aerodynamics shaped the design of the building", The Oregonian wrote in its obituary of Sundeleaf.
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A particular goal of Ng's work is to "democratize" AI learning so that people can learn more about it and understand its benefits. Ng's stance on AI is shared by Mark Zuckerberg, but opposed by Elon Musk. In 2017, Ng said he supported basic income to allow the unemployed to study AI so that they can re-enter the workforce. He has stated that he enjoyed Erik Brynjolfsson and Andrew McAfee's "The Second Machine Age" which discusses issues such as AI displacement of jobs.
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The same year, he collaborated with Émile-Jacques Ruhlmann and Jean Dunand for the International Exposition of Modern Industrial and Decorative Arts of 1925, the exhibition that epitomized what came to be called decades later Art Deco, a "modern" style characterized by a streamlined geometric and symmetric compositions, and a sleek machine-age look.Benton, Charlotte; Benton, Tim; Wood, Ghislaine (2003). Art Deco: 1910–1939. Bulfinch. p. 16. Bevis Hillier, Art Deco of the 20s and 30s (Studio Vista/Dutton Picturebacks), 1968 From 1930, Lambert-Rucki became one of the pioneers of Modern Religious Art.
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The building's gargoyles on the 31st floor and the eagles on the 61st floor, were created to represent flight, and to embody the machine age of the time. Even the topmost needle was built using a process similar to one Chrysler used to manufacture his cars, with precise "hand craftmanship". In his autobiography, Chrysler says he suggested that his building be taller than the Eiffel Tower. Meanwhile, excavation of the new building's foundation began in mid-November 1928 and was completed in mid-January 1929, when bedrock was reached.
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She retired from the Cooper Hewitt in 2000. Pilgrim was the co-author of The Machine Age in America: 1918-1941 (1986, with Richard Guy Wilson and Dickran Tashjian) and The American Renaissance 1876-1917 (1979, with Richard Guy Wilson and Richard N. Murray), both for the Brooklyn Museum. She also wrote exhibition catalogs, including The Power of Maps (1993) for the Cooper Hewitt and American Impressionist and Realist Paintings and Drawings from the Collection of Mr. and Mrs. Raymond J. Horowitz (1973) for the Metropolitan Museum of Art.
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The first Southern Summer School met at rented facilities in 1927 at Sweet Briar College in Virginia. It never had permanent quarters, and moved each year. The 25 students each year were carefully chosen and all white, but the philosophy that Louise espoused made no difference between faculty and student, emphasizing "there is no line drawn between faculty and student as there is in academic life." The students were chosen to represent all the typical industries of the south and Leonard was intent on teaching the "social attitudes appropriate to the machine age".
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Mueller,187-97 During the 1920s, the Bunzlauer potters also began to borrow design elements from the postwar Art Deco style. In Art Deco, the naturalistic curves of Jugendstil gave way to geometric patterns and the streamlined aerodynamics appropriate to the machine age and the concept of mass production. The Art Deco style, as it developed in Germany, was significantly influenced by Cubism and its offshoot Suprematism. The Suprematist style of pure, geometric abstraction had developed in Russia and was introduced into the famous Bauhaus Design School in Dessau in the 1920s.
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Harads is also the home of the Treehotel complex, devised by entrepreneur Kent Lindvall in 2010, with the "rooms" of the hotel built high into the canopy of a pine forest with gantries leading from one to the other. The "rooms", each designed by a different architect, are encapsulated in their names, such as "Mirrorcube", "UFO", "Blue Cone", "Bird's Nest". Lindvall argues that the design idea of the hotel is based on the ecological principle of sustainability."Feel free in a tree", Machine Age Chronicle, April 7th, 2011.
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Treadwell Mansion (Oakland, CA) CCA was founded in 1907 by Frederick Meyer in Berkeley as the School of the California Guild of Arts and Crafts during the height of the Arts and Crafts movement. The Arts and Crafts movement originated in Europe during the late 19th century as a response to the industrial aesthetics of the machine age. Followers of the movement advocated an integrated approach to art, design, and craft. Today, Frederick Meyer's "practical art school" is an internationally known and respected institution, drawing students from around the world.
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Some commentators see Winter's language as carrying racist concerns when he quoted Le Corbusier as saying urban congestion created a "zone of odours, [a] terrible and suffocating zone comparable to a field of gypsies crammed in their caravans amidst disorder and improvisation." He failed to mention Le Corbusier's views on how social structure and class relations should be managed. Sport was important to Winter as a remedy to problems of the machine age. In a modern urban environment, sport let man continue the activity of the outdoor life for which his body was designed.
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Some would argue that scientific and technological advances have always influenced art in terms of its inspiration, tools and visual effects. In the words of Douglas Davis: "Art can no more reject either technology or science than it can the world itself". (Davis 1973, introduction) In his writings Henry himself often expressed his lifelong enthusiasm for fruitful collaborations between art and technology.(Henry: 1962, 1964, 1969, 1972) During the First Machine Age, prior to World War Two, enthusiasm for technological advances was expressed by the Machine Aesthetic which heralded the Modern Movement.
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The authors summarize the contents of their book's 15 chapters on pages 11 and 12 of the book itself. The book is divided into three sections: Chapters 1 through 6 describe "the fundamental characteristics of the second machine age," based on many examples of modern use of technology. Chapters 7 through 11 describe economic impacts of technology in terms of two concepts the authors call "bounty" and "spread." What they call "bounty" is their attempt to measure the benefits of new technology in ways reaching beyond such measures as GDP, which they say is inadequate.
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Rapid Transit was a play by Lajos Egri that premiered at the Provincetown Playhouse, New York, in April 1927 and closed before the end of the month after 20 performances. Horace Liveright had bought and produced this work. Egri's expressionist play was translated from his original Hungarian by Gustav Davidson and Francis Edwards Faragoh, and adapted by Charles Recht. Casting about for some adequate means of conveying a sense of the hectic pace of this machine age, Egri pictured a world in which all of life is compressed into twenty-four hours.
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Peter Reyner Banham, FRIBA (2 March 1922 – 19 March 1988) was an English architectural critic and writer best known for his theoretical treatise Theory and Design in the First Machine Age (1960) and for his 1971 book Los Angeles: The Architecture of Four Ecologies. In the latter he categorized the Los Angeles experience into four ecological models (Surfurbia, Foothills, The Plains of Id, and Autopia) and explored the distinct architectural cultures of each. A frequent visitor to the United States from the early 1960s, he relocated there in 1976.
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Committed to a 'high tech', light weight, infra-structural approach that was focused towards survival technology, the group experimented with modular technology, mobility through the environment, space capsules and mass-consumer imagery. Their works offered a seductive vision of a glamorous future machine age; however, social and environmental issues were left unaddressed. __NOTOC__ Archigram agitated to prevent modernism from becoming a sterile and safe orthodoxy by its adherents. Unlike ephemeralisation from Buckminster Fuller which assumes more must be done with less material (because material is finite), Archigram relies on a future of interminable resources.
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After 2000 there became popular the idea that a sequence of technological revolutions is not over and in the forthcoming future we will witness the dawn of a new universal technological revolution. The main innovations should develop in the fields of nanotechnologies, alternative fuel and energy systems, biotechnologies, genetic engineering, new materials technologies and so on .Philip S. Anton, Richard Silberglitt, James Schneider (2001): The Global Technology Revolution - Bio/Nano/Materials Trends and Their Synergies with Information Technology by 2015., RAND, The Second Machine Age is the term adopted in a 2014 book by Erik Brynjolfsson and Andrew McAfee.
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As the first painter to take as his idiom the imagery of the machine age, and to make the objects of consumer society the subjects of his paintings, Léger has been called a progenitor of Pop Art.Buck 1982, p. 42. He was active as a teacher for many years, first at the Académie Vassilieff in Paris, then in 1931 at the Sorbonne, and then developing his own Académie Fernand Léger, which was in Paris, then at the Yale School of Art and Architecture (1938–1939), Mills College Art Gallery in Oakland, California during 1940–1945, before he returned to France.
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As a staff member of the New York Regional Plan and the City Recreation Committee, Perry formulated his early ideas about the neighborhood unit and community life. In 1909 he became associated with the Russell Sage Foundation as associate director of recreation until 1937. His ideas were realized in neighborhoods like Radburn through the work of Clarence Stein. He produced several books, many pamphlets and articles though is best remembered for his The Neighborhood Unit (The Neighbourhood Unit: From the Regional Survey of New York and Its Environs, Volume VII, Neighbourhood and Community Planning, 1929) and Housing for the Machine Age (1939).
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Becher's work was innovative in that, by capturing the post-war, she has ultimately defined Germany before mass industry and by the idealized past. Stimson, from Tate Paper, writes "by shooting the grand icons of the Machine Age 'straight-on' so they do not, they have claimed 'hide or exaggerate or depict anything in an untrue fashion', by committing themselves to an ethic of representation free of bogus political elevation or degradation, they realize one leg of their generation's postmodern affect". Such is the voice of Hilla and Bernd's work: they sought to represent Germany without ideology and without a politically charged atmosphere.
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Wyndham Lewis helped pioneer Vorticism, a modernist movement in British art and poetry in the early 20th century and founded the Rebel Art Centre in 1914. Many British artists that had allied themselves with Lewis and the vortices movement attended the centre which was opposed to the Italian futurists movement. American literary agitator Ezra Pound also aligned himself to Lewis's cause. Lewis objected to the futurist celebration of the machine age and was repelled by vague and indistinct form preferring structural clarity which is to be found in the vivid character descriptions, powerful metaphors and crystal-clear imagery of The Wild Body.
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The noun machine tool and the verb to machine (machined, machining) did not yet exist. Around the middle of the 19th century, the latter words were coined as the concepts that they described evolved into widespread existence. Therefore, during the Machine Age, machining referred to (what we today might call) the "traditional" machining processes, such as turning, boring, drilling, milling, broaching, sawing, shaping, planing, reaming, and tapping.Machining: An Introduction In these "traditional" or "conventional" machining processes, machine tools, such as lathes, milling machines, drill presses, or others, are used with a sharp cutting tool to remove material to achieve a desired geometry.
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Ship-owner Gustaf Erikson of Mariehamn, Åland Islands, Finland, was noted for his fleet during the interwar period. Other sailing ship companies carrying on despite the onset of the machine age were F. Laeisz of Hamburg and A.D. Bordes of Dunkirk. The four-masted, iron-hulled ship, introduced in 1875 with the full-rigged , represented an especially efficient configuration that prolonged the competitiveness of sail against steam in the later part of the 19th century. The largest example of such ships was the five-masted full-rigged ship , which had a load capacity of 7,800 tons.
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Many shire chambers and town halls of the 1920s and 1930s are fine examples of the influence of modern architectural styles in Queensland townscapes. Incorporating elements of the jazz-influenced Art Deco and machine-age vision of the Moderne, these buildings were built as expressions of confidence in a bright and modern future. Stylistic elements of Art Deco and Moderne include decorative treatments like geometrical motifs, decorative vertical banding and a streamlining of the building form. These features are evident in many prominent civic buildings throughout the state including the Goondiwindi Civic Centre and the Southport Town Hall.
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Also criticized for their content were the dance dramas Candide, from Voltaire; How Long Brethren, featuring songs by future Guggenheim Fellowship recipient Lawrence Gellert; and Trojan Incident, a translation of Euripides with a prologue from Homer. Help Yourself, a satire on high-pressure business tactics, was among the comedies criticized by Congress. Others were Machine Age, about mass production; On the Rocks by George Bernard Shaw; and The Tailor Becomes a Storekeeper. Children's plays singled out were Mother Goose Goes to Town, and Revolt of the Beavers, which the New York American called a "pleasing fantasy for children".
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SPK returned to Australia for a tour and recorded their third album, Machine Age Voodoo, in Sydney which was issued in 1984 on WEA Records. For the album, SPK's Revell and Leong were joined by Jeff Bartolomei on keyboards, Mary Bradfield-Taylor on vocals, Graham Jesse on saxophone, James Kelly on guitar, Sam McNally on keyboards and Phil Scorgie on bass guitar. McFarlane saw the album as "mixed mainstream disco-pop and sweet vocals with electronic experimentation (sort of like Blondie meets Kraftwerk)". While Bush felt it was "another leap towards dance-rock and away from the group's industrial past".
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A movement called Futurism influenced Italian literature in the early 20th century. Filippo Tommaso Marinetti wrote Manifesto of Futurism, called for the use of language and metaphors that glorified the speed, dynamism, and violence of the machine age. Modern literary figures and Nobel laureates are Gabriele D'Annunzio from 1889 to 1910, nationalist poet Giosuè Carducci in 1906, realist writer Grazia Deledda in 1926, modern theatre author Luigi Pirandello in 1936, short stories writer Italo Calvino in 1960, poets Salvatore Quasimodo in 1959 and Eugenio Montale in 1975, Umberto Eco in 1980, and satirist and theatre author Dario Fo in 1997.
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His fellow vorticist Henri Gaudier-Brzeska was killed at the front and Bomberg and Lewis found that their belief in the purity of the machine age was seriously challenged by the realities of the trenches. Wadsworth spent the war in the Royal Naval Volunteer Reserve on the island of Mudros until invalided out in 1917, transferring dazzle camouflage designs onto allied ships.Modernist Art in Camouflage Known as Dazzle ships, these vessels were not camouflaged to become invisible, but instead used ideas derived from Vorticism and Cubism to confuse enemy U-boats trying to pinpoint the direction and speed of travel.Dazzle Painting Dazzle camouflage was invented and designed by Norman Wilkinson.
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With Eric Gill's move to Ditchling, the artistic community there gave rise to other sculptors in the Lewes district such as his nephew John Skelton and Joseph Cribb. Skelton's studio in Streat has continued as an educational and artist's workshop since his death in 1999. Eric Gill and Jacob Epstein conceived a great scheme for doing some collossal figures together around 1910 for a modern Stonehenge on 6 acres of land at Asheham House, Beddingham, south-east of Lewes. William Rothenstein agreed to buy the lease but the scheme failed.Richard Cork, Vorticism and Abstract Art in the First Machine Age, Volume 1, p. 117.
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The 1974 reproduction, at Birmingham Epstein's dismantling of Rock Drill and truncation of the abstracted male form marks a crucial turning point in his career, signalling the end of his engagement with the machine age. Although Epstein destroyed the original sculpture, since its reconstruction in 1974, Rock Drill has been heralded as representing 'a dramatic, revolutionary moment when sculpture in Britain first became uncompromisingly modern.' Epstein had a long and successful career in Britain, working in less radical styles, and notable for portrait busts and architectural sculptures. The final Sensational Alex Harvey Band studio album, 1978's Rock Drill, was named for and influenced by the sculpture.
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Although the bookstacks were decorated and very simply embellished, they are of machine-age industrial design. Stacks were typically envisioned for access by library staff fetching books for patrons waiting elsewhere, and so were often built in ways making them unsuitable for public access. Increasing concern with opening stacks to the public, the desire to construct buildings adaptable to changing uses, and concerns over the feasibility of storing truly comprehensive collections of books contributed to the decline of the Snead stack. Angus Snead Macdonald, president of the Snead Company from 1915 to 1952, himself advocated for the transition to modular, open plan libraries in the mid twentieth century.
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Orwell describes the emergence from hibernation of the common toad and its procreative cycle and offers it as an alternative to the skylark and primrose as a less-conventional example of the coming of spring. Orwell points out that the pleasures of spring are available to everybody, cost nothing and can be appreciated in the town as much as the country. However, Orwell is concerned with feelings in some groups that there is something reprehensible in enjoying nature. For the political discontent groaning under the capitalist system, the love of nature seems sentimental, and others seem to see the appreciation of nature as reactionary in a machine age.
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In response to a post-war Germanic period, Becher's "subjective photography" tries to humanize, naturalize, and synthesize Germany's history and idealization within the industrialized comportment. The Machine Age brought a visual pace that was "ever- accelerating, ever expanding" and highly juxtaposed to the past, more subdued, Germanic lifestyle. Becher sought to capture the underlying function and organization of this new ideal by ultimately picturing these differences in industrialization. Becher's work is often said to be continuous in that each photograph cannot stand on its own; Becher's work is a body of work and a thematic response in framing the political, enlightening, and responsive post- war Germany.
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The Mud Bath (1914; Tate Gallery). Expelled from the Slade in the Summer of 1913, Bomberg formed a series of loose affiliations with several groups involved with the contemporary English avant-garde, embarking on a brief and acrimonious association with the Bloomsbury Group's Omega Workshops before exhibiting with the Camden Town Group in December 1913. His enthusiasm for the dynamism and aesthetics of the machine age gave him a natural affinity with Wyndham Lewis's emerging vorticist movement, and five of his works featured in the founding exhibition of the London Group in 1914. Still, Bomberg was staunchly independent and despite Lewis' attempts he never officially joined Vorticism.
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Removing the train yard supported the Chicago Plan Commission's desire to develop and beautify the riverfront. James Simpson, president of Marshall Field & Co. from 1923 to 1930 and chairman of the Chicago Plan Commission from 1926 to 1935, turned the first shovels of dirt at groundbreaking on August 16, 1928, along with architect Ernest Graham. General contractor John W. Griffiths & Sons brought building construction into the machine age through the use of techniques "ordinarily used in the construction of big dams." Concrete arriving by boat was lifted by compressed air to bins above the ground, with gravel and sand delivered by railroad cars to conveyor belts and transfer elevators.
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David Bomberg, The Mud Bath, 1914, Tate The Vorticism group began with the Rebel Art Centre which Wyndham Lewis and others established after disagreeing with Omega Workshops founder Roger Fry, and has roots in the Bloomsbury Group, Cubism and Futurism. Lewis himself saw Vorticism as an independent alternative to Cubism, Futurism and Expressionism."Vorticism", MoMA The Collection Retrieved 17 October 2009 Though the style grew out of Cubism, it is more closely related to Futurism in its embrace of dynamism, the machine age and all things modern (cf. Cubo-Futurism). However, Vorticism diverged from Futurism in the way it tried to capture movement in an image.
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Her design received wide praise from the press and established Perriand as a talent to watch. The Bar sous le Toit showed her preference for designs that represented the machine age, a departure from the preference of the time for finely handcrafted objects made of rare woods. Perriand took advantage of the use of steel as a medium in this project, which formerly was used primarily by men. Despite the success of the Bar sous le Toit in getting her name known, Perriand was not satisfied with creating designs just for the well-off; she wanted to work for Le Corbusier and pursue serial production and low-cost housing.
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Motocross has another noticeable difference from road racing, in that starts are done en masse, with the riders alongside each other. Up to 40 riders race into the first corner, and sometimes there is a separate award for the first rider through (see holeshot). The winner is the first rider across the finish line, generally after a given amount of time or laps or a combination. Motocross has a plethora of classes based upon machine displacement (ranging from 50cc 2-stroke youth machines up to 250cc two-stroke and 450cc four-stroke), age of competitor, ability of competitor, sidecars, quads/ATVs, and machine age (classic for pre-1965/67, Twinshock for bikes with two shock absorbers, etc.).
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"Kaiser has left the cloud that used to surround him," a review in the Weltbühne suggested, "and landed with both feet on the earth." Kaiser's plays, particularly From Morning to Midnight, were highly influential on the German dramatists operating during the 1920s, including Iwan Goll, Ernst Toller and Bertolt Brecht, who drew on Kaiser's use of revue-type scenes and parable, which was influenced by medieval and 16th-century German mystery plays. Kaiser collaborated with the composer Kurt Weill on his one-act operas Der Protagonist (1926) and Der Zar lässt sich photographieren (1928), also Der Silbersee (1933). In his later years, he further developed his criticism of the modern machine age that had characterised the Gas trilogy.
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World War I was to bring a profound change to Bomberg's outlook. His experiences of its mechanized slaughter and the death of his brother in the trenches — as well as those of his friend Isaac Rosenberg and his supporter T. E. Hulme — permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the Canadian War Memorials Fund, Sappers at Work (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version. The artist's book Russian Ballet, 1919, was the last work to use the pre-war vorticist idiom.
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Coney Island is a 1991 documentary film that traces the history of Coney Island, the westernmost part of the barrier islands of Long Island, New York. The film covers the island's 1609 discovery by Henry Hudson, its 1870s incarnation as a respectable beach destination for city-dwellers and showcase of the new developments ushered in by the machine age, the early 20th century, when amusement parks and innovative attractions attracted hundreds of thousands of people each day, and the gradual demise of the amusements. The film is narrated by Philip Bosco. It premiered at the Sundance Film Festival and broadcast nationally on PBS as part of the American Experience program in February 1991.
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Non-IT-assisted physical guidance was the first means of providing indexing capability, via purely mechanical means. It allowed the Industrial Revolution to progress into the Machine Age. It is achieved by jigs, fixtures, and machine tool parts and accessories, which control toolpath by the very nature of their shape, physically limiting the path for motion. Some archetypal examples, developed to perfection before the advent of the IT era, are drill jigs, the turrets on manual turret lathes, indexing heads for manual milling machines, rotary tables, and various indexing fixtures and blocks that are simpler and less expensive than indexing heads, and serve quite well for most indexing needs in small shops.
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Egri wrote his first three-act play at the age of ten, according to his biographical sketch in The Art of Dramatic Writing. In 1927, Rapid Transit, Egri's expressionist play, was translated from Hungarian and produced at the Provincetown Playhouse in New York. Casting about for some adequate means of conveying a sense of the furious pace of this machine age, Egri pictured a world in which all of life is compressed into twenty-four hours. Children grow to maturity in a few minutes; meals are eaten in split seconds; tabloid newspapers are issued at intervals of a second or two, and the loss of half a minute is a serious matter.
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According to architect Ian Sinnamon, author of Putting on a brave front: Queensland between the wars, the Murgon Civic Centre, though more humble in size and resources, is a virtuoso piece of its kind. It and the Johnstone Shire Hall are the only known 1930s Art Deco reinforced concrete municipal buildings of this style and scale in Queensland. The Murgon Civic Centre is one of the interwar shire chambers and town halls that are fine examples of the influence of modern architectural styles in Queensland townscapes. Incorporating elements of the jazz-influenced Art Deco and the machine-age vision of the Moderne, these buildings were built as expressions of confidence in a bright and modern future.
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In Richard Cork, "Alone in a Crowd", New Statesman, 3 May 2004, Cork describes his unsuccessful attempts to interview Roberts for his 1976 monograph Vorticism and Abstract Art in the First Machine Age (London: Gordon Fraser), and says that "One journalist who was rash enough to ring Roberts's doorbell ended up kneeling on the front step, struggling in vain to conduct a conversation with the retiring artist through his letter box." Unsurprisingly, in his eighties Roberts's draughtsmanship deteriorated, but he continued working until the end – Donkey Rides Donkey Rides, January 1980. was "pinned to his drawing board on the day on which he died [20 Jan. 1980]".John Roberts, "William Roberts RA: Watercolours, Drawings and Etchings" (Cambridge: Fitzwilliam Museum, 1985).
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These quasi autonomous creatures exist in an absolutely synthetic sphere of lifeless matter. However, within the precise, determinist systems creative categories suddenly reappear, such as deviation, refusal and transcience out of which complex patterns of behavior evolve." Or, as bitforms gallery explains, "Zimoun builds architecturally-minded platforms of sound to explore mechanical rhythm and flow in prepared systems. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life". According to creative director of Holo magazine Alexander Scholz, "Visually, the Swiss artist Zimoun’s kinetic sculptures are architectural manifestations of the machine age: hundreds of simple, meticulously assembled, and methodically distributed contraptions whir away in concert.
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After writing for the engineering magazine Machine Age in the early 1960s, Setright became a motoring journalist and author, contributing to Car Magazine for more than 30 years and writing several books on cars and automotive engineering. Setright's writing style polarised readers as some considered it to be pompous and excessively esoteric, while others found his erudite style and engineering knowledge a welcome change from the usual lightweight and largely non- technical journalistic style. He had a strong enthusiasm for Bristol Cars and for Japanese engineering, in particular Honda. Setright also wrote about music, motorcycles and high-fidelity sound systems, and contributed to, among others, Punch, The Independent, Bike, Motorcycle Sport under the initials LJKS, Back Street Heroes and Car and Driver.
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From left, Joseph P. Bickerton, Jr. (theatre producer), Elmer Rice (playwright) and Carl Laemmle Jr. (Universal producer) sign a contract for the film version of Counsellor at Law After writing four more plays of no special distinction, Rice startled audiences in 1923 with his next contribution to the theatre, the boldly expressionistic The Adding Machine, which he wrote in 17 days.Durham, pp. 32-54. A satire about the growing regimentation of life in the machine age, the play tells the story the life, death and bizarre afterlife of a dull bookkeeper, Mr. Zero. When Mr. Zero, a mere cog in the corporate machine, discovers that he is to be replaced at work by an adding machine, he snaps and murders his boss.
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The novel is divided into what are essentially three discrete short stories, unified by common threads such as character names and types, story location (New York City), story themes (such as shared humanity), and the presence of Walt Whitman (whether through actual physical presence, quotation of his works via narrator or character, or the spirit of his ideas expressed through narrator or character). The first short story, "In the Machine", is a ghost story. "In the Machine" takes place in New York City during the Industrial Revolution, as human beings confront the alienating realities of the new machine age. The principal characters are Lucas (a disfigured young boy), Catherine (a young woman who was to marry Lucas' elder brother), and Simon (Lucas' recently deceased elder brother).
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In 2015, Dance or Die was still described as a "well-known Berlin cult Electro [band]" by the music magazine Sonic Seducer. Their music combines cold techno sounds with a deep voice (vocalist Gary Wagner even sings as guest on other artist's records, as on "Take Some More" by And One) and cyber-themed lyrics about life in the machine age. The albums were thus appropriately named, 3001 for the future, Psychoburbia taking psycho and burb together, while Dehumanizer seems to stand for itself. (Though it may have been named after Black Sabbath's Dehumanizer album, whose song "Black Sabbath" Dance or Die did cover on Psychoburbia.) Schlafende Energie (literally: sleeping energy) is a term coined by the German television series Raumpatrouille and means an energy reserve.
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Brown & Sharpe were inspired by several earlier devices, one of them being Palmer's design. In 1888, Edward W. Morley added to the precision of micrometric measurements and proved their accuracy in a complex series of experiments. The culture of toolroom accuracy and precision, which started with interchangeability pioneers including Gribeauval, Tousard, North, Hall, Whitney, and Colt, and continued through leaders such as Maudslay, Palmer, Whitworth, Brown, Sharpe, Pratt, Whitney, Leland, and others, grew during the Machine Age to become an important part of combining applied science with technology. Beginning in the early 20th century, one could no longer truly master tool and die making, machine tool building, or engineering without some knowledge of the science of metrology, as well as the sciences of chemistry and physics (for metallurgy, kinematics/dynamics, and quality).
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After leaving college, he took a job at The New York Journal in New York City but left for a better position at the Middletown Times-Herald (now the Times Herald-Record), Middletown, New York. During the early 1930s, Stern worked on a part-time basis in the office of the Kings County, New York, District Attorney where his investigation led to the conviction of those behind a prostitution ring; it became the basis for his 1936 book, The White Ticket: Commercialized Vice in the Machine Age. He was hired by Bernarr Macfadden in 1933 at the rate of 3.5 cents per word as an investigative reporter for Macfadden's pulp magazines, such as True Detective Mysteries. Stern wrote under pseudonyms for other similar publications, earning at times half of Macfadden's rate per word.
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Jean Moorcroft Wilson — Isaac Rosenberg (2008) Whether because his faith in the machine age had been shattered by his experiences as a private soldier in the trenches or because of the pervasive retrogressive attitude towards modernism in Britain Bomberg moved to a more figurative style in the 1920s and his work became increasingly dominated by portraits and landscapes drawn from nature. Gradually developing a more expressionist technique, he travelled widely through the Middle East and Europe. From 1945 to 1953, he worked as a teacher at Borough Polytechnic (now London South Bank University) in London, where his pupils included Frank Auerbach, Leon Kossoff, Philip Holmes,[Frank Auerbach by Robert Hughes, page 30 . Philip Holmes' website] Cliff Holden, Edna Mann, Dorothy Mead, Gustav Metzger, Dennis Creffield, Cecil Bailey and Miles Richmond.
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In 1952 Banham began working for the Architectural Review, having previously written regular exhibition reviews for ArtReview, then titled Art News and Review. Banham also had connections with the Independent Group, the 1956 This Is Tomorrow art exhibition – considered by many to the birth of pop art – and the thinking of the Smithsons and of James Stirling, on the 'New Brutalism', which he documented in his 1966 book The New Brutalism: Ethic or Aesthetic? But before this in Theory and Design in the First Machine Age, he cut across mentor Pevsner's main theories, linking modernism to build structures in which the 'functionalism' was actually subject to formal structures. Later, he wrote a Guide to Modern Architecture (1962, later titled Age of the Masters, a Personal View of Modern Architecture).
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Joseph-Louis Lambot (born 22 May 1814 in Montfort sur Argens; died 2 August 1887 in Brignoles), is the inventor of ferro-cement, which led to the development of what is now known as reinforced concrete. He studied in Paris, where his uncle Baron Lambot was aide-de-camp to the Duke of Bourbon. In 1841 he moved to his family's estate of Chateau Miraval in the Department of the Var (Southern France), where he applied himself to agriculture. It is around that time that he started constructing water tanks and troughs using cement mortar (masonry) and iron reinforcement most likely in the form of iron rods, chicken wire (which was invented in Britain in 1844 and used for shipping crates) and possibly barrel bands that were easily available with the arrival of the machine age.
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Living in the era of Henry Ford, Filene believed that the problems of mass production had essentially been solved. But he feared that production by itself would not ensure prosperity; if ordinary workers could not afford to continue financing this expansion with their purchasing power, the result would be either reduced production or worse, increased social inequality leading to violence or dictatorship. He saw credit unions as an important part of the answer. In a speech in California in 1936 he summed up his view: > What is needed is that the American masses shall learn the art of > constructive self-government in this machine age – in this age in which life > is no longer organized on a small community pattern but in which all > Americans are more or less dependent upon what all other Americans are > doing.
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Perspective drawing from La Città Nuova by Sant'Elia, 1914. Futurist architecture is an early-20th century form of architecture born in Italy, characterized by strong chromaticism, long dynamic lines, suggesting speed, motion, urgency and lyricism: it was a part of 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.
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Chandigarh was for Nehru and Le Corbusier an embodiment of the egalitarian potential offered by modernism, where the machine age would complete the liberation of the nation's citizens through the productive capacity of industrial technology and the relative ease of constructing civic facilities such as dams, hospitals, and schools; the very antithesis of the conservative and traditional legacy of colonialism. Though built as a state capital Chandigarh came to be focused in industry and higher education. The specialisation of these new towns in particular functions represents a crucial aspect of the modernisation process as a decolonising enterprise, in completing a national portfolio where each town forms a part of the utopian model for contemporary India. The post-colonialism of Chandigarh is rooted in the transformation of the political ideas of those such as Nehru who generated a new Indian nationalism into the design of newly built forms.
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Born in 1894 in Cambuslang, Scotland, William McCance was the seventh of eight children. After attending Hamilton Academy, McCance entered Glasgow School of Art, studying there 1911–15 and subsequently undertaking a teacher-training course at Glasgow's Kennedy Street school. A conscientious objector in World War I, McCance was imprisoned. After discharge from prison in 1919, McCance and his illustrator/engraver wife, Agnes Miller Parker (1895-1980, married 1918), moved to London, where McCance was employed as a teacher and art critic, writing for The Spectator. McCance's paintings in the 1920s were unusual in that he was one of the few Scottish artists who embraced the cubist, abstract and machine-inspired arts movements that spread across Europe following the First World War.The Herald newspaper, Glasgow, article Artist of the Machine Age – William McCance 27 May 1995 Retrieved 2011-06-20Neil M. Gunn: Selected Letters, Editor J. B. Pick.
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Frenay sought to convey a history of technological development through a machine age into a period that is just beginning which he regarded as a new biological age of technology in which computer memory will be based on DNA, computer software will work according to the logic of human emotions, human systems and human inventions will meld into a new biology based relationship. His book advocated recycling of all waste, greater control of corporations to prevent pollution and waste, government support of environment-based technology development. His view was a positive vision of future industrial, military, agricultural and commercial technological developments. While the basis of his book was a single idea, he reflected that idea throughout history, cultural philosophy, technological change and invention as he "charted the shift from machines to biology bolstered by computers: a type of 'new biology' in which human systems and machines meld to form new possibilities".
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David Bomberg's experiences of mechanized slaughter and the death of his brother in the trenches - as well as those of his friend Isaac Rosenberg and his supporter T. E. Hulme - permanently destroyed his faith in the aesthetics of the machine age. This can be seen most clearly in his commission for the Canadian War Memorials Fund, Sappers at Work (1918–1919): his first version of the painting was dismissed as a "futurist abortion" and was replaced by a second far more representational version. The Underworld, Walter Bayes, 1918 At the 1918 Royal Academy exhibition, Walter Bayes' monumental canvas The Underworld depicted figures sheltering in a London Underground station during an air raid. Its sprawling alien figures predate Henry Moore's studies of sheltering figures in the Tube during the Blitz of World War II. :See also the Comité des Étudiants Américains de l'École des Beaux-Arts Paris.
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The Becher's wanted to focus on what the images provide to the viewer when viewed together, e.g. an anatomy of the relations between constituent parts. Bernd and Hilla Becher's background with Germany and the inspirations from works of August Sander and company. Concepts such as ‘New Objectivity.’ Carrying forward Bernd and Hilla Becher's work is the machine age photographers, albeit complexly. Some describe it as “industrial archaeology” or “a contribution to the social history of industrial work.” Some criticisms of the concept, that those assumptions are misleading. Bernd and Hilla Becher's state that they have always been upfront about the concept, “things which can be interesting for technical historians, [things] are not visually interesting for us.” Then continue, “We want to offer the audience a point of view, or rather a grammar, to understand and compare; the different structures,” is how they describe their ambition.
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Divisions between North and South, Protestant and Catholic, were not the only limitations upon Irish independence that exercised Ireland. In the same wartime year Ireland established the Ulster Union Club, he published Éamon de Valera Doesn’t See it Through: A Study of Irish Politics in the Machine Age, a collection of his articles appearing over the previous two years in the New Northman, The Ulsterman, the Standard and, less obscurely, the New English Weekly. He argued: > Irishmen are beginning to wake from the dream wherein green letter boxes, > green postage stamps, and income-tax forms copied from the English but > containing a few Gaelic words, appeared as symbols of nationality, whereas > they are in reality a convenient cover for the operation of Western Finance > Capital in its most international and dangerous form. As he readily owned, Ireland had become a disciple of the distributive philosophy of C. H. Douglas (1879–1952).
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One of the first Dreyfuss designs for Hoover, it was the symbol of the machine age; the beautiful Bakelite hood hid the entire motor from view and there were no protruding knobs or gadgets. It was the first Hoover cleaner that was not of the traditional "coffee can" style, which Hoover had been using since its earliest years. The cleaner sold from 1936 to 1939 and was priced at $80 (which is about $1,500 to $2,000 in today's money). Two other lower priced Hoovers sold along with the 150: the Model 25 (1937–38),, "Design for a casing for suction cleaners or similar articles", Henry Dreyfuss, issued 4 May 1937 which was the middle of the line cleaner priced at $65; and the Model 300 (1935–38), "Design for a casing for a suction cleaner or similar article", Henry Dreyfuss, issued 10 November 1936 which became the bottom of the line cleaner and sold at $49.75.
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At the same time that Driggs exhibited her Precisionist machine age works at the Daniel Gallery, she was also creating a series of important plant forms, both in pastel and oil, for the same gallery. In a group exhibition at the Daniel Gallery in 1924, "Chou" (collection of the Montclair Museum) a study of a cabbage, which was larger than life-sized, was displayed with works by Preston Dickenson, Andrew Dasburg and Thomas Hart Benton. The painting earned Driggs rave reviews by such prominent critics as Forbes Watson, who wrote," Elsie Driggs, a newcomer, is a distinct addition to the gallery's group, her painting of the spread out leaves of a cabbage being one of the most sensitive pieces of painting in the entire exhibition."Forbes Watson, "Painters form a Lively Group," New York World, February 17, 1924. Perhaps Driggs' finest plant form is "Cabbage" of 1927 (private collection), which depicts an uprooted American cabbage swirling in space.
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The Women of Futurism M. Barry Katz The release of her book made many futurists question her allegiance with Futurism, for her book seemed to align more with Neo-Plasticism at the time by many male Futurists who have written reviews on Cappa's book. Cappa collected all of the reviews in her Librone which can be found at the Getty Research Institute.Getty Research Institute It was a decision made from many reviewers that Cappa's first book represents the unwillingness from the reviewers to accept a women's work as part of Futurism.Appropriating the Abstract: Benedetta's "Le forze umane" and Neoplasticism The action and aesthetic of the machine age is a trope within Futurism that appears frequently in Cappa’s artwork. One early abstract painting, Velocità di Motoscafo, (Velocity of a Motorboat), (1923-24), contains many of the elements that would come to mark Cappa’s painting style. Well defined, curvilinear shapes, painted in gradient tones are compositionally arranged to imply objects in motion: “… the interplay of ‘force lines,’ become the subject”. The artist’s exploration of the machine continued with Luci + Rumori di un Treno Notturno, (Lights + Sounds of a Night Train), (ca. 1924) and with Aeropittura (1925).
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During the 1930s Miller was one of Chicago's most prominent artists. In ’31, there was a large exhibit at the Art Institute’s Summer Show of a wide variety of his work, including carved chairs, benches, glazed pottery, mosaics and terracotta columns. It was universally applauded. The art critic C.J. Bulliet wrote of it, “In fact, an old Florentine master come to life in this machine age.” Also in ’31, he completed cut lead windows for the executive offices of the Palmolive Building. For the 1933 World’s Fair, A Century of Progress, Edgar (with the help of Andrew Rebori) helped design and execute the Streets of Paris exhibit, and ran the concessions with other artists. The nudity of female performers at some of the concessions almost lead to a scandal when a petition was issued to shut down the exhibit for being “lewd and lascivious.” In court, the judge struck (down) the charge: “it is not the business of this court.” For the Animal Court project at Jane Addams Homes in 1935, Miller was hired by the federal government to design a series of stone animal sculptures ranging from 700lbs to several tons each.
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In the context of late tsarist Russia, society was deeply divided by social class. Russian industrialisation, development, economic growth, and urbanisation fell far behind other Western nations, with the country experiencing high levels of illiteracy, poor health care, and struggling with the limitations of little mass communication outside larger cities. Looking outward at the realities of those from neighbouring countries, artists who would later become members of the Cubo-Futurist movement noticed the impacts of the burgeoning Machine Age on everyday life, recognising the beauty, dynamism, and energy of the utilitarian machine aesthetic leading to a renewed interest in technological modernisation within art, poetry, and life. Active in Russian art circles, Ukrainian-born Aleksandr Shevchenko (1883-1948) echoed this sentiment when, in 1913, he stated, “the world has been transformed into a single, monstrous, fantastic, perpetually-moving machine, into a single huge non-animal automatic organism… [this] cannot help but be reflected in our thinking and in our spiritual life: in Art”. The “cult of the machine” became an increasingly utopic concept within Cubo-Futurist circles, with artists perceiving the idyllic phenomenon of machine production as the foremost “proletariat creation” due to its ability to help construct an equitable, collective life for all people regardless of class.
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