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Is it possible to conceive of a Hello Kitty Middle Ages or a Tickle Me Elmo Renaissance? The Oxford English Dictionary dates the first reference to "cute" in the sense of "attractive, pretty, charming" to 1834. More recently, Sianne Ngai has offered a critical overview of the cuteness of the twentieth-century avant-garde within the context of consumer culture. But if cuteness can get under the skin, what kinds of surfaces does it best infiltrate, particularly in the framework of historical forms, events, and objects that traditionally have been read as emergences around "big" aesthetics of formal symmetries, high affects, and resemblances? The Retrofuturism of Cuteness seeks to undo the temporal strictures surrounding aesthetic and affective categories, to displace a strict focus on commodification and cuteness, and to interrogate how cuteness as a minor aesthetics can refocus our perceptions and readings of both premodern and modern media, literature, and culture. Taking seriously the retro and the futuristic temporalities of cuteness, this volume puts in conversation projects that have unearthed remnants of a "cult of cute"-positioned historically and critically in between transitions into secularization, capitalist frameworks of commodification, and the enchantment of objects-and those that have investigated the uncanny haunting of earlier aesthetics in future-oriented modes of cuteness. The Latin acutus, the etymological root of cute, embraces the sharpened, the pointed, the nimble, the discriminating, and the piercing. But as Michael O'Rourke notes, cuteness evokes a proximity that is at once potentially invasive and contaminating and yet softening and transfiguring. Deploying cuteness as a mode of inquiry across time, this volume opens up unexpected lines of inquiry and unusual critical and creative aporias, from Christian asceticism, medieval cycle drama, and Shakespeare to manga, Bollywood, and Second Life. The projects collected here point to a spectrum of aesthetic-affective assemblages related to racial, ethnic, gender, sexual, and class dimensions that exceed or trouble our contemporary perceptions of such registers within object-subject and subject-object entanglements. TABLE OF CONTENTS // Wan-Chuan Kao and Jen Boyle, "Introduction: The Time of the Child"Andrea Denny-Brown, "Torturer-Cute"Elizabeth Howie, "Indulgence and Refusal: Cuteness, Asceticism, and the Aestheticization of Desire"Claire Maria Chambers, "From Awe to Awww: Cuteness and the Idea of the Holy in Christian Commodity Culture"Justin Mullis, "All The Pretty Little Ponies: Bronies, Desire, and Cuteness"Marlis Schweitzer, "Consuming Celebrity: Commodities and Cuteness in the Circulation of Master William Henry West Betty"Mariah Junglan Min, "Embracing the Gremlin: Judas Iscariot and the (Anti-)Cuteness of Despair"Alicia Corts, "Cute, Charming, Dangerous: Child Avatars in Second Life"James M. Cochran, "What's Cute Got to Do with It?: Early Modern Proto-Cuteness in King Lear"Kara Watts, "Hamlet, Hesperides, and the Discursivity of Cuteness"Tripthi Pillai, "Cute Lacerations in Doctor Faustus and Omkara"Kelly Lloyd, "Katie Sokoler, Your Construction Paper Tears Can't Hide Your Yayoi Kusama-Neurotic Underbelly"
The author of The Long Descent examines a solution for the troubles of our modern age: technical regression. To most people paying attention to the collision between industrial society and the hard limits of a finite planet, it’s clear that things are going very, very wrong. We no longer have unlimited time and resources to deal with the crises that define our future, and the options are limited to the tools we have on hand right now. This book is about one very powerful option: deliberate technological regression. Technological regression isn’t about “going back”—it’s about using the past as a resource to meet the needs of the present. It starts from the recognition that older technologies generally use fewer resources and cost less than modern equivalents, and it embraces the heresy of technological choice—our ability to choose or refuse the technologies pushed by corporate interests. People are already ditching smartphones and going back to “dumb phones” and land lines and e-book sales are declining while printed books rebound. Clear signs among many that blind faith in progress is faltering and opening up the possibility that the best way forward may well involve going back. A must-read for anyone willing to think the unthinkable and embrace the possibilities of a retro future. Praise for The Retro Future “Whether or not you accept John Michael Greer’s argument that a deindustrialized future is inevitable, you’ll appreciate his call for the freedom to select the best technologies of the past—worthy and sustainable tools, not pernicious prosthetics. Greer’s vision of a “post-progress” world is clear, smart, and ultimately hopeful.” —Richard Polt, professor of philosophy, Xavier University; author, The Typewriter Revolution: A Typist’s Companion for the 21st Century “What might your life be like without an automobile, TV, or a mobile phone? Ask John Michael Greer, who lives that way and recommends it as practice for the soon-to-be-normal. Greer says we are embarked upon the post-progress era. Climate change, loose nukes, and resource exhaustion are among its many challenges. In The Retro Future, Greer looks backward to mark the way forward.” —Albert Bates, author, The Post-Petroleum Survival Guide, The Biochar Solution, and The Paris Agreement
To most people paying attention to the collision between industrial society and the hard limits of a finite planet, it's clear that things are going very, very wrong. We no longer have unlimited time and resources to deal with the crises that define our future, and the options are limited to the tools we have on hand right now. This book is about one very powerful option: deliberate technological regression. Technological regression isn't about 'going back,' it's about using the past as a resource to meet the needs of the present. It starts from the recognition that older technologies generally use fewer resources and cost less than modern equivalents, and it embraces the heresy of technological choice, our ability to choose or refuse the technologies pushed by corporate interests. People are already ditching smartphones in favor of 'dumb phones' and land lines and eBook sales are declining, while printed books rebound. Clear signs among many that blind faith in progress is faltering and opening up the possibility that the best way forward may well involve going back. A must-read for anyone willing to think the unthinkable and embrace the possibilities of a retro future. John Michael Greer, one of the most influential authors exploring the future of industrial society, writes the widely cited blog The Archdruid Report. He has authored more than forty books including The Long Descent and Dark Age America. He lives in Cumberland, MD, an old mill town in the Appalachians, with his wife Sara.
The definitive behind-the-scenes history of video games’ explosion into the twenty-first century and the war for industry power “A zippy read through a truly deep research job. You won’t want to put this one down.”—Eddie Adlum, publisher, RePlay Magazine As video games evolve, only the fittest companies survive. Making a blockbuster once cost millions of dollars; now it can cost hundreds of millions, but with a $160 billion market worldwide, the biggest players are willing to bet the bank. Steven L. Kent has been playing video games since Pong and writing about the industry since the Nintendo Entertainment System. In volume 1 of The Ultimate History of Video Games, he chronicled the industry’s first thirty years. In volume 2, he narrates gaming’s entrance into the twenty-first century, as Nintendo, Sega, Sony, and Microsoft battle to capture the global market. The home console boom of the ’90s turned hobby companies like Nintendo and Sega into Hollywood-studio-sized business titans. But by the end of the decade, they would face new, more powerful competitors. In boardrooms on both sides of the Pacific, engineers and executives began, with enormous budgets and total secrecy, to plan the next evolution of home consoles. The PlayStation 2, Nintendo GameCube, and Sega Dreamcast all made radically different bets on what gamers would want. And then, to the shock of the world, Bill Gates announced the development of the one console to beat them all—even if Microsoft had to burn a few billion dollars to do it. In this book, you will learn about • the cutthroat environment at Microsoft as rival teams created console systems • the day the head of Sega of America told the creator of Sonic the Hedgehog to “f**k off” • how “lateral thinking with withered technology” put Nintendo back on top • and much more! Gripping and comprehensive, The Ultimate History of Video Games: Volume 2 explores the origins of modern consoles and of the franchises—from Grand Theft Auto and Halo to Call of Duty and Guitar Hero—that would define gaming in the new millennium.
"Themed spaces have, at their foundation, an overarching narrative, symbolic complex, or story that drives the overall context of their spaces. Theming, in some very unique ways, has expanded beyond previous stereotypes and oversimplifications of culture and place to now consider new and often controversial topics, themes, and storylines."--Publisher's website.
From the bestselling authors and hosts of "The Skeptics' Guide to the Universe," a high-tech roadmap of the future in their beloved voice, cracking open the follies of futurists past and how technology will profoundly change our world, redefining what it means to be human. Our predictions of the future are a wild fantasy, inextricably linked to our present hopes and fears, biases and ignorance. Whether they be the outlandish leaps predicted in the 1920s, like multi-purpose utility belts with climate control capabilities and planes the size of luxury cruise ships, or the forecasts of the ‘60s, which didn’t anticipate the sexual revolution or women’s liberation, the path to the present is littered with failed predictions and incorrect estimations. The best we can do is try to absorb the lessons from futurism's checkered past, perhaps learning to do a little better. In THE SKEPTICS' GUIDE TO THE FUTURE, Steven Novella and his co-authors build upon the work of futurists of the past by examining what they got right, what they got wrong, and how they came to those conclusions. By exploring the pitfalls of each era, they give their own speculations about the distant future, transformed by unbelievable technology ranging from genetic manipulation to artificial intelligence and quantum computing. Applying their trademark skepticism, they carefully extrapolate upon each scientific development, leaving no stone unturned as they lay out a vision for the future.
The headlong rush, the rapid montage, the soaring superhero, the plunging roller coaster—Matters of Gravity focuses on the experience of technological spectacle in American popular culture over the past century. In these essays, leading media and cultural theorist Scott Bukatman reveals how popular culture tames the threats posed by technology and urban modernity by immersing people in delirious kinetic environments like those traversed by Plastic Man, Superman, and the careening astronauts of 2001: A Space Odyssey and The Right Stuff. He argues that as advanced technologies have proliferated, popular culture has turned the attendant fear of instability into the thrill of topsy-turvydom, often by presenting images and experiences of weightless escape from controlled space. Considering theme parks, cyberspace, cinematic special effects, superhero comics, and musical films, Matters of Gravity highlights phenomena that make technology spectacular, permit unfettered flights of fantasy, and free us momentarily from the weight of gravity and history, of past and present. Bukatman delves into the dynamic ways pop culture imagines that apotheosis of modernity: the urban metropolis. He points to two genres, musical films and superhero comics, that turn the city into a unique site of transformative power. Leaping in single bounds from lively descriptions to sharp theoretical insights, Matters of Gravity is a deft, exhilarating celebration of the liberatory effects of popular culture.
The post–World War II science-based technological revolution inevitably found its way into almost all international expositions with displays on atomic energy, space exploration, transportation, communications, and computers. Major advancements in Cold War science and technology helped to shape new visions of utopian futures, the stock-in-trade of world’s fairs. From the 1940s to the 1980s, expositions in the United States and around the world, from Brussels to Osaka to Brisbane, mirrored Cold War culture in a variety of ways, and also played an active role in shaping it. This volume illustrates the cultural change and strain spurred by the Cold War, a disruptive period of scientific and technological progress that ignited growing concern over the impact of such progress on the environment and humanistic and spiritual values. Through the lens of world’s fairs, contributors across disciplines offer an integrated exploration of the US–USSR rivalry from a global perspective and in the context of broader social and cultural phenomena—faith and religion, gender and family relations, urbanization and urban planning, fashion, modernization, and national identity—all of which were fundamentally reshaped by tensions and anxieties of the Atomic Age.
Architecture and film have many things in common. Film narratives are embedded in scenes that visually support the story. Sometimes architecture even performs the role of an actor. Conversely, film with its multifaceted changing atmospheres reveals new layers of architecture which, outside the cinema, would remain concealed. In conclusion, film as a mass medium influences the way architecture is perceived, and its image in society. Since the beginning of cinema, architecture has formed a symbiosis with film. With its systematic analysis, this book offers a scientifically researched history of mutual influence, starting with filmography as a typology of well-known film sets through to the description of the chameleon effect between film and architecture.