Tag Archives: design

Desert Modernism 2025 Exhibition at Scottsdale Ferrari Art Week


DECEMBER, 2024Scottsdale, Ariz. Diné Artist, Dealer, Curator and Antiques Roadshow Appraiser Tony Abeyta to Curate Special Exhibition, “Desert Modernism,” at Scottsdale Ferrari Art Week Exhibition to Showcase Rare Works by Fritz Scholder, Charles Loloma, Lloyd Kiva New, Frank Lloyd Wright, Phillip Curtis and Paolo Soleri.


 Scottsdale Ferrari Art Week Fair is pleased to announce that Diné artist, dealer, curator and Antiques Roadshow Appraiser, Tony Abeyta, will curate a special exhibition, “Desert Modernism,” which will show the convergence and progression of Phoenix artists of Native, Anglo and Hispanic descent, from approximately 1930-1980. The exhibition will feature rare and hard-to-find works by artists, architects and designers such as Fritz Scholder, Charles Loloma, Lloyd Kiva New, Frank Lloyd Wright, Phillip Curtis and Paolo Soleri.

Abeyta is also serving as an Advisory Committee member for the Fair. The Scottsdale Ferrari Art Week Fair is a unique event at the historical and cultural crossroads of the American Southwest. Set in one of the country’s fastest-growing cities with an ascendent contemporary Indigenous culture, the fair will showcase over a hundred leading international galleries at Westworld, March 20-23, 2025.”We are absolutely thrilled to have Tony participate in Scottsdale Art Week,” says Trey Brennen, co-owner of the inaugural Fair.



“We are set to become the leading art fair in the West and that requires a strong Indigenous representation among our dealers and curators. Tony approaches art and art history with a deep understanding of the region and the contemporary work being produced at this moment. He has worked at many of the major museums in the area and has a wonderful reputation across the Southwest.”About his curation of a special for sale exhibition at the inaugural Fair, Abeyta says, “This has given me a chance to do a deep dive into one of my favorite subjects, the evolution of Modernism through the disparate art communities that converged in the Phoenix/Scottsdale area in the middle portions of the twentieth century. I’ve long been fascinated by the work Native artists were doing in the area and I want to show how they worked, showed and created alongside great artists such as Frank Lloyd Wright, Phillip Curtis and Paolo Soleri.”


Preston Singletary, “A Canoe Entered a Dream” – courtesy of Blue Rain Gallery

As a curator, Abeyta co-organized the exhibition New Terrains: Contemporary Native Art which was held at Phillips Auctions January 5-23, 2024. The watershed selling exhibition explored the influences of modernism, post-war and pop influences on work by 50 contemporary Indigenous artists including Fritz Scholder, Preston Singletary, TC Cannon, Cara Romero, Diego Romero, Jaune Quick-to-See-Smith, Virgil Ortiz, Jamie Okuma, Kent Monkman, Michael Kabotie, Oscar Howe, Allan Houser, Cannupa Hanska Luger and others.

The recently closed show, Abeyta\ To’Hajiilee K’e’, at the Wheelwright Museum in Santa Fe, featured the paintings of Tony and his father, Narciso Abeyta (Ha-So-De), and the ceramic works of his sisters, Pablita and Elizabeth. Abeyta is represented by Owings Gallery in Santa Fe, New Mexico. For more information, please visit www.scottsdaleartweek.com. For the Silo, Jennifer Parks-Sturgeon.



About Scottsdale Ferrari Art Week             Scottsdale Art Week (SAW) is situated at the historical and cultural crossroads of the American Southwest. It is a reflection of today’s more dynamic and contemporary community, but is rooted in our unique landscape and history. Visionary art figures from Georgia O’Keeffe to Max Ernst and James Turrell were so inspired by the local landscape that they either settled here or created monumental land art. Today the art of the Indigenous Navajo, Apache and Hopi tribes who first occupied this land to Spanish colonialism and centuries of settlement is recognized alongside them. SAW is an exciting combination of historical American Art, contemporary art and design, with a special focus on contemporary art from Indigenous and Latinx, who often blur the lines between what constitutes art and design.

About ASU, SAW Gala Benefit Partner ASU Art Museum centers art and artists in the service of community well-being and social good. The Museum is a learning-centered teaching institution, providing interdisciplinary learning opportunities for students from across the university ranging from the sciences, humanities, journalism, sociology and schools of arts and design. A teaching museum, much like a teaching hospital, is responsible for training the next generation of arts professionals and are the frontrunners in research in art history and museum studies while delivering the highest possible level of artistic standards through collection teaching, exhibition making, research and audience engagement. The museum is different from other non-profit art museums in the region because of its unique ability to leverage the resources of the largest public research university in the country for community good. ASUAM fulfills ASU’s Design Principles by serving as a bridge connecting the breadth and scope of scholarly research and learning to the experience, knowledge and needs of our local communities, thereby co-creating and creating arts and culture opportunities available for all.

Article featured image- Horseworld, 1989 by Snellen Johnson (gift of Howard E. Kleim).
This bronze sculpture, signaling the entrance to Westworld, shows a group of three horses which represent an Arabian, Thoroughbred, and a Quarter Horse each representing a different behavior: the Quarter Horse is cutting, the Thoroughbred is racing, and the Arabian is showing.
Snell Johnson, a self-taught artist and his sculptures are known world-wide including the MGM Lion in Las Vegas and Caesar in Johannesburg, South Africa.

With over 100 galleries displaying a curated selection of fine art and design, guests will also enjoy cultural performances, fashion shows, pop-up displays and immersive experience throughout each day.

Fashion

Daily fashion shows will be produced by Phoenix Fashion Week. All clothing is provided by select Phoenix Fashion Week designers and boutiques.

“Our ultimate mission is to garner global exposure to Arizona’s fashion industry, and this event is the perfect way to do so,” said Brian Hill, Executive Director of Phoenix Fashion Week. “It’s a great, innovative way to find emerging models while showcasing top brands and fashion in Arizona.”

For more information on Phoenix Fashion Week, visit phoenixfashionweek.com

Luxury Cars

From utility to showpiece, cars are a unique art form. Guests can celebrate clean lines and smooth curves while enjoying our extensive display of luxury and collector automobiles. Enjoy a special Ferrari showcase onsite at the event. Check out their entire inventory here >

Performances

Set in one of the country’s fastest growing cities with an ascendant contemporary Indigenous art culture, the fair will showcase over a hundred leading galleries at the scenic Westworld alongside cultural performances, sculptural installations, and innovative programming including collaborations with institutions, galleries, artists, and prominent collectors.

Special Events

Guests looking to explore the best the city has to offer can attend their choice of multiple off-site events during the week. From guided tours to VIP invite-only receptions. There is something for everyone at the event and throughout this great city.

7 Most Expensive Electric Cars In The World Include Batmobile Inspired Dark Knight

While EVs are known mainly as environmentally friendly offerings, this list proves not all things with electric motors on four wheels are created equal.

1a. Automobili Pininfarina B95: $4.7 Million usd/ $6.67 Million cad

Topping the list is the Pininfarina B95, the world’s most expensive electric car at $4.7 million usd. Limited to just 10 units, the B95 blends breathtaking performance with unmatched luxury. With a top speed of 186 mph and acceleration from 0 to 62 mph in under two seconds, it’s as fast as it is exclusive. Crafted for collectors, the B95 epitomizes automotive luxury in the EV era.

1b. Automobili Pininfarina Battista B95 Dark Knight $4.2 Million usd/ $5.94 Million cad

Celebrating 85 years of Batman, this hypercar is meticulously crafted as the ultimate inspiration for Bruce Wayne’s conquest against darkness. The Battista Dark Knight emerges blending superhero mystique with high-performance luxury. Dark Knight transforms the elegant, pure-electric Battista into its most formidable version yet, Furiosa. Featuring never-previously-seen bespoke enhancements and aggressive styling, it showcases the pinnacle of Automobili Pininfarina’s dynamic design and craftsmanship.

Most Expensive Electric Vehicles In the World

2. Aspark Owl: $3.1 Million usd/ $4.4 Million cad

Hailing from the Land of the Rising Sun, the Aspark Owl takes electric speed to another level with a claimed top speed of 260 mph and a 0-60 mph time of 1.72 seconds. Its all-carbon-fiber body minimizes weight while maximizing aerodynamics. Limited to 50 units, the Owl’s exclusivity matches its $3.1 million usd price tag. A recent evolution of the model reached a record-breaking 272 mph, solidifying its place as one of the fastest EVs ever.

Most Expensive Electric Vehicles In the World

3. NIO EP9: $3 Million usd/ $4.25 Million cad

China’s NIO EP9 stands out with its focus on aerodynamics and track performance. With an active rear wing and 5,395 pounds of downforce at 150 mph, the EP9 excels on the racetrack. Its four motors enable a 0-124 mph sprint in just 7.1 seconds, and its innovative battery-swapping system adds convenience. Limited to 50 units, the EP9 costs $3 million usd and showcases NIO’s technical expertise.

Most Expensive Electric Vehicles In the World

4.Lotus Evija: $2.3 Million usd/ $3.25 Million cad

The Lotus Evija aims to redefine what an electric hypercar can achieve, delivering 1,973 horsepower from its four motors. Its lightweight design, with a curb weight of just 3,704 pounds, emphasizes performance, while a range of 250 miles ensures practicality. A special Fittipaldi edition pays homage to Lotus’s racing legacy, featuring even greater power and exclusivity. At $2.3 million, the Evija remains a pinnacle of British engineering.

Most Expensive Electric Vehicles In the World

5. Pininfarina Battista: $2.25 Million usd/ $3.18 Million cad

We mentioned the Batman version above already but the ‘base model’ Automobili Pininfarina’s Battista is an electrified masterpiece, blending exquisite design with awe-inspiring performance. With a combined output of 1,900 horsepower from four motors, the Battista rockets from 0 to 62 mph in just 1.86 seconds. Its 120 kWh battery allows fast charging to 80% in 25 minutes, and its carbon fiber construction optimizes agility. Priced at $2.25 million, this Italian creation is limited to 150 units.

Most Expensive Electric Vehicles In the World

6. Rimac Nevera: $2.2 Million usd/ $3.11 Million cad

Croatia’s Rimac Nevera has rewritten the record books, claiming the title of the world’s fastest EV with a top speed of 258 mph. Its four motors generate 1,813 horsepower, enabling blistering acceleration and exceptional handling. With only 150 units produced, each priced at $2.2 million, the Nevera is a true collector’s item. A special Time Attack variant, priced at over $3 million usd , adds even more exclusivity to an already rare hypercar.

Most Expensive Electric Vehicles In the World

7. Deus Vayanne: $2 Million usd/ $2.83 Million cad

The Deus Vayanne debuted at the 2022 New York Auto Show, boasting a staggering 2,243 horsepower thanks to its tri-motor setup. Designed in Austria, produced in Italy, and electrified in the UK, this hypercar achieves a balance of power and elegance. Its unique infinity-loop-inspired grille complements an interior lined with sustainable materials. With a range of 310 miles and a limited production run of 99 units, the Vayanne offers exclusivity at $2 million.

Most Expensive Electric Vehicles In the World

For the Silo, Verdad Gallardo.

Puma Sneakers Celebrate 50 Years Of Porsche Andial

Time goes by – fast. And even faster in the world of Porsche performance. Making it no surprise that 2025 already marks the 50th anniversary of one of the most renowned chapters in the history of Porsche performance tuning: ANDIAL. A legacy, founded in California in 1975 by three passionate minds. Sustained for 50 years by its countless fans all over the world. In celebration of this remarkable anniversary, Porsche and PUMA present a special limited-edition ANDIAL collection.

The synergy between the three founders was instrumental to ANDIAL’s success. Arnold Wagner brought the expertise in parts and office. Dieter Inzenhofer delivered mechanical engineering precision. And Alwin Springer contributed his extensive knowledge of technology and systems. With their united vision, they shaped the brand. With their combined names, they formed the acronym: ANDIAL.

The ANDIAL heritage lives on beyond outstanding performance – with its iconic design. PUMA and Porsche have transferred the memorable ANDIAL colors and liveries from the road to street style. With a unique pair of sneakers, available in two different colors. A timeless tribute to the best-times, driven by ANDIAL race cars. If that’s not enough, check out the limited edition t-shirt, trucker cap and detailed car model.

Watercolorist Designs Large Scale Homes That Integrate With Surroundings

Beverly Hills Artist, Energy Guru & Landscape Designer Also Does Dreamy Homes!

Beverly Hills-based architect Brian Tichenor is a man of many talents, widely recognized for original, artful building designs that integrate large-scale residences and their surrounding landscapes. A graduate of UCLA, Tichenor is a member of the architecture faculty at rival school University of Southern California. Some of his most notable projects include the new LA Times Headquarters and Nantworks, a campus of DNA sequencing and R&D labs on reclaimed oil fields in the north Baldwin Hills that use methane capture, solar infrastructure, and co-generation to achieve energy self-sufficiency.

The Artist

In the art world, Tichenor’s colorful watercolors are found in the homes of many art collectors. And Brian has completed more than 100 gardens throughout the world. With his wife, fellow architect Raun Thorp, he is the author of Outside In: The Houses and Gardens of Tichenor & Thorp, published by Vendome Press in 2017.

A ten-acre estate in Alamo, thoughtfully designed by Tichenor, has been listed for sale at $17.75 million usd/ $24.4 million cad.

Known as Lark Ridge Estate, the property includes Tichenor’s trademark landscaping featuring Mediterranean-style gardens, a lion’s-head fountain with Emperador dark marble surround, a dark plaster pool, and an octagon-shaped spa, complemented by the property’s stunning views of Mt. Diablo and the surrounding valley.

Three houses sit on the grounds, protected by private gates. The 9,812-square-foot main house includes six bedrooms and nine bathrooms. The two-story mansion is the classic Mediterranean with a red-tile roof.  Exquisitely designed for indoor-outdoor living, the floor plan offers grand-scale entertaining spaces, casual living areas, sitting rooms, private bedroom retreats, enormous walk-in closets, spa-like bathrooms, dual-executive-office spaces, a gym, and a media room.

French doors, extensive use of Venetian gold from Italian artisans, antique fireplaces, rock crystal chandeliers, and custom onyx-and-marble countertops impart an air of decadent luxury. Each room is unique, with truly stunning wall coverings, including parchment and gold-leafed wallpaper in the executive office, pearlized Venetian plaster walls in the master suite,  custom hand-painted grass-cloth walls in the family room, and a fireplace from New York’s Plaza Hotel. Miele appliances, state-of-the-art AV & security systems, motorized shades, and a computerized lighting system offer the ultimate in high-tech living.

The 917-square-foot carriage house provides a one-bedroom/one-bathroom guest home with a full kitchen and laundry room over an impressive nine-car secondary garage. The 718-square-foot tennis house offers a similar one-bedroom/one-bathroom layout with a kitchenette. Perfect for entertaining, the tennis house opens onto the full-sized lighted tennis court with a basketball hoop and the entertainment deck with a two-way fireplace. An outdoor kitchen and bar, ample poolside lounging areas, and resort-inspired amenities are sure to charm even the most discerning guests.

Located 28 miles south of San Francisco, Alamo is a suburban community known for its bucolic feel and relaxed atmosphere, close enough to San Francisco and Silicon Valley for a comfortable commute but secluded from the hustle and bustle of the city. Lark Ridge Estate sits just above the Iron Horse Regional trail, beloved by walkers, runners and cyclists. Numerous parks and wilderness areas surround the community, which has not yet been heavily developed. Celebrities who call Alamo home include Olympic gold medalist Kristi Yamaguchi, MLB record-setter Mark McGwire, and Oakland Raiders owner Marc Davis. 

The listing is held by Dana Green of Dana Green Team of Compass, Lafayette, California.

Photos:  Courtesy of Compass

Source: larkridgeestate.com

Porsche Rarities Coming To Auction

Broad Arrow Auctions has released the complete digital catalog for its upcoming inaugural Chattanooga Auction, set for 12 October 2024 at the Chattanooga Convention Center in Tennessee and we have it here for you to drool over (see below).

Among the 90+ collector cars on offer at the single-day sale are no less than 15 variations of the 911 model, including such rarities as the 1984 Porsche 911 SC RS Gruppe B “Evolutionsserie”, the vertible “missing link” in any Carrera RS collection.

Friday, October 11 9:00 am – 5:00 pm ET
Saturday, October 12 9:00 am – 1:00 pm ETAuction
Saturday, October 12 1:00 pm ET

Drool Time

1984 Porsche 911 SC RS Gruppe B “Evolutionsserie”Lot 180
Estimate: $2,600,000 – $3,500,000 USD/ $3,528,000 CAD- $4,750,000 CAD

Looking for something less German? View all lots- click here.

Featured image-

2019 Porsche 911 Speedster Heritage Design Package Lot 140
Estimate: $375,000 – $425,000 USD/ $509,000 CAD- $577,000 CAD

Ultimate Integrated Amplifier Has It All

Boulder, Colorado, September, 2024 – PS Audio now offers its Stellar Strata MK2 integrated amplifier, with updated features including a moving-magnet/moving coil phono stage, a built-in improved high-resolution DAC, a Class A analog preamp stage, a headphone output, 150 watts of output power, and more.



Paul McGowan, PS Audio CEO noted, “The Stellar Strata MK2 significantly improves upon the original Strata concept of providing a superb-sounding, versatile high-end integrated amplifier. Designing the Strata MK2 gave us the opportunity to implement our latest technical advancements in an all-in-one audio component that offers exceptional sound, has an attractive, compact design, and is easy to use.”

Analog enthusiasts can now enjoy the benefits of superior vinyl playback, thanks to the PS Audio’s Stellar Strata MK2’s new moving magnet/moving coil phono stage. Two stereo pairs of MM and MC RCA phono inputs are provided, plus two RCA and XLR line-level inputs. The Strata MK2 features fully balanced analog preamplifier circuitry.

It’s equally flexible in accommodating digital sources.

The Strata MK2’s built-in DAC can deliver up to 384kHz digital audio (depending on the source), with native DSD capability up to DSD256. The Strata MK2 includes one optical and two coaxial digital inputs, plus asynchronous USB and two I2S inputs. For headphone listeners, the Strata MK2 offers a top-quality Class A headphone amplifier.

The DAC utilizes PS Audio’s exclusive Digital Lens technology to deliver extraordinary sound quality from any digital source. All digital signals are fed in native mode into the DAC’s proprietary Digital Lens, which recognizes the sample rate, re-clocks the data, reduces jitter, and applies other processing.

The Stellar Strata MK2 is fully balanced from input to output, for extremely transparent, detailed sound quality and ultra-quiet operation. Its Class A preamplifier stage features PS Audio’s exclusive analog Gain Cell variable-gain volume circuitry, which eliminates the sonic degradation that can be caused by conventional volume controls.

A high-current, Class D hybrid output stage with exceptional linearity delivers 150 watts of power (into 4 ohms), to ensure that the most delicate musical details are faithfully conveyed, as well as the most complex orchestral crescendos.

Also available in black.

The PS Audio Stellar Strata MK2 offers a number of additional performance and convenience features. It’s digital filter for PCM sources allows the listener to choose between three settings, to tailor the response to personal preferences and program sources. The Strata MK2 also provides balance and phase controls (the latter for digital sources), input trim for each source, a headphone volume trim control, a USB port for potential future firmware upgrades, and a trigger output.

The PS Audio Stellar Strata MK2 integrated amplifier is currently available in a choice of silver or black finish at a US manufacturer’s suggested retail price of $3,499 usd/ $4,727 cad. Only available via official dealers near you. For the Silo, Frank Doris.

Stellar Strata MK2 Features at a Glance:

Class A balanced analog Gain Cell preamplifier
Moving magnet/moving coil phono stage
Full-function DAC to accommodate up to 384kHz digital audio and native DSD up to DSD256
Three single-ended and balanced analog inputs; moving magnet and moving coil phono inputs; digital inputs including two coaxial, two I2S, optical, and USB (asynchronous to 384kHz)
Digital Lens technology Digital Lens re-clocks incoming data to reduce jitter and provide additional sonic advantages
150 watts per channel into 4 ohms, 100 watts into 8 ohms; high-current Class A hybrid output stage
Built-in Class A headphone amplifier
5- 15-volt trigger output for connection to other A/V system components
21 lbs., 17″ wide by 2.8″ high by 13.5″ deep

Canadian Numi Transformative Bamboo Undergarments

It may only be the start of September but we Canadians know that the days are indeed growing shorter.

As we approach Fall and Winter (sorry!) and the weather starts becoming cooler, one of the best ways to layer is using Numi’s bamboo undergarments and basics under your clothing.

“Originally on the market as Nudy Patooti, this brand launched in 2013 and quickly changed its name to better reflect their customer base. Focusing on sustainability, peace, and kindness, Numi works with women for women. Each detail of design is done to make life easier for the working gal.

Founded by Michelle Shemilt, this company was born out of necessity. As a former equity trader, Shemilt was tired of losing her work clothes to sweat and deodorant stains that affected every top. Rather than shell out the money for constant dry cleaning, Shemilt went to work on a solution to benefit not only her but other working women who suffered the same issue.  

Alongside a pro-woman mission, this brand also works for the world. Sustainability is a core goal for the company that works solely in eco-friendly fabrics and practices, Numi wants to leave a mark on their customers, but not the planet.” honestbrandreviews.com

The secret to layering, even in Fall and Winter, is to look stylish, not bulky.

Because their innovative collection consists of ultra-soft bamboo, you can seamlessly layer your fall fashions and holiday outfits in a multitude of ways. If that isn’t enough their transformative undergarments wick away sweat before it becomes an embarrassing stain or damages your clothes. 

Each piece is made with high tech fabric that absorbs perspiration and protects your outfit to keep you feeling fresh as you go between any kind of event such as from the office to holiday parties.  A Numi undergarment will get your favorite clothes back into regular wardrobe rotation while offering perks such as extending the life of your clothes, creating less laundry, lowering drying cleaning costs, and helping to regulate your body temperature.

Undergarments feature patented Sweat-Secret Technology, a high performance fabric in the underarm area to absorb moisture to help you stay dry and comfortable and your clothes clean.

Numi’s basic tees and tanks are also super comfortable essentials for layering, loungewear and sleepwear, and are perfect pieces to have in your wardrobe as the weather gets colder.

Both lightweight and stylish, their garments and undergarments will keep your body feeling fresh and fabulous underneath everything from your weekend sweaters to work silk blouses to holiday party dresses.

Transformative Highlights

  • Keep clothes clean and like new longer
  • Prevent embarrassing sweat stains from ruining an outfit (and your day)
  • Comfortably smooth the figure without being constrictive
  • Patented fabric technology absorbs and whisks away moisture from the body
  • Organic bamboo regulates body temperature, keeping you cooler when warm and warmer when cool (perfect for fall layering!)
  • Save money by not having to dry clean as often and save time by reducing laundry
  •  Eco-friendly: made of organic bamboo and sustainably manufactured in Canada

Great for all shapes and sizes.

Fitted and ultra-soft, you can choose from a variety of classic feminine styles to keep you comfortable and worry-free during the weekends, in the office, or anytime! For the Silo, Katie Guest.

The Best Theater Sound System In Finland

— Kino Piispanristi integrates Genelec’s famous “The Ones” loudspeaker range along with the latest Dolby Surround technology to deliver premium audio quality — the best to be found (and heard) in Finland.

NATICK, MA, August, 2024 —Kino Piispanristi is a full-service 286-seat independent movie theater close to Turku, Finland. The venue is a long-time passion project of Henry Erkkilä, a movie lover who wanted to create a modern cinema that transcends tradition when it comes to audio-visual technology. Kino Piispanristi cinema strives to continually deliver a superior experience, so its luxury new premium screen features a Genelec sound system comprising the brand’s unmatched smart active studio loudspeakers and subwoofers.

Genelec “The Ones”

Erkkilä discovered his love for the film industry as a young boy. His father had a film projector that he travelled around Sweden with, bringing the latest screen favorites to audiences in his home country. Prior to the screening, Erkkilä would be tasked with dropping off advertisements in the local area, showcasing the movie on offer that evening and encouraging people to attend.

Inspired by his father, he set up his very own touring movie theater concept in 1998, but it wasn’t until 2017 that Erkkilä finally opened his first permanent space. Kino Piispanristi began with two theaters, but now the cinema boasts five screens, as well as additional venues in Turku, Salo and Laitila.

“We strive to offer all the perks of a modern cinema without being a faceless corporation,” begins Erkkilä.

A look at some of the Genelec’s installed in Kino Premium.

“We react to trends quickly and make moves boldly so that our customers can walk in and out feeling happy. Having the greatest theater sound system in Finland is an excellent way to help us light up people’s faces!”

Kino Piispanristi’s newest screen is a premium, more intimate space with exceptional picture quality and a 7.1 audio system based around Genelec’s “The Ones” family of coaxial three-way studio loudspeakers – which deliver extended frequency response, controlled directivity and fatigue-free listening. Three 8361s – the flagship of The Ones range – are deployed for LCR, with six of the more compact 8341s in the surround positions, complemented by two 7380 subwoofers for clean, controlled LF performance.

“For our premium space theater, sound is everything.”

“Theater technology, be it projectors, screens, audio or seats, is constantly evolving and unless you’re among the frontrunners, you might get left behind,” Erkkilä explains. “Genelec is widely known and admired as a wonderful example of Finnish engineering and design. As a local business, we try to emphasize the importance of using locally sourced products, and Genelec’s quality is unmatched. This was a pilot project for us and we’re looking into expanding our other spaces – since it’s been such a hit. We charge a few Euros extra for the premium screen, but the movie experience is so good that our customers still see it as excellent value.”

GLM Space calibration software at work.

Usually found powering the world’s most notable music, broadcast and film studios, Genelec’s studio loudspeakers are now being specified for an increasing number of high-end residential and boutique commercial cinemas around the world – thereby allowing customers to experience the same kind of sonic detail and clarity as the movie creators themselves.

The Ones models provide optimized performance by intelligently adapting to the acoustics of the room, achieved by a combination of GLM space calibration software and internal DSP within each loudspeaker and subwoofer. “GLM calibration allowed us to achieve a better balance with the lower and higher voices on screen,” explains Erkkilä. “Without it, it’s likely that the room would’ve changed the natural feel of the audio. It gave us full control over the system.”

PDF brochure on how Genelec used this cinema for a product case study.

GLM offers precise calibration of each loudspeaker’s in-room frequency response, playback level and distance delay, minimizing unwanted room influences and ensuring the best possible audio quality. In addition to the Genelec system, Kino Piispanristi uses Dolby Cinema processors which bring a natural feel to film soundscapes – immersing the audience in the true excitement of cinema.

“Our expertise in cinema and Genelec’s legacy in sound was the perfect match, and the collaboration was even more meaningful because of the local connection,” concludes Erkkilä. “The Ones loudspeaker series has completely transformed the cinema, and now we can offer audiences everything that the big players can – and more. The cinema is a result of a lot of hard work and dedication, and the Genelec system feels like the icing on the cake. It’s reinvented what we show on the screen.”

7000 Words About The Dubious Refragmentation Of The Economy

One advantage of being old is that you can see change happen in your lifetime.

A lot of the change I’ve seen is fragmentation. For example, US politics and now Canadian politics are much more polarized than they used to be. Culturally we have ever less common ground and though inclusiveness is preached by the media and the Left, special interest groups and policies have a polarizing effect. The creative class flocks to a handful of happy cities, abandoning the rest. And increasing economic inequality means the spread between rich and poor is growing too. I’d like to propose a hypothesis: that all these trends are instances of the same phenomenon. And moreover, that the cause is not some force that’s pulling us apart, but rather the erosion of forces that had been pushing us together.

Worse still, for those who worry about these trends, the forces that were pushing us together were an anomaly, a one-time combination of circumstances that’s unlikely to be repeated—and indeed, that we would not want to repeat.

Describe How a Mass Culture Developed in America - JeankruwHumphrey

The two forces were war (above all World War II), and the rise of large corporations.

The effects of World War II were both economic and social. Economically, it decreased variation in income. Like all modern armed forces, America’s were socialist economically. From each according to his ability, to each according to his need. More or less. Higher ranking members of the military got more (as higher ranking members of socialist societies always do), but what they got was fixed according to their rank. And the flattening effect wasn’t limited to those under arms, because the US economy was conscripted too. Between 1942 and 1945 all wages were set by the National War Labor Board. Like the military, they defaulted to flatness. And this national standardization of wages was so pervasive that its effects could still be seen years after the war ended. [1]

Business owners weren’t supposed to be making money either.

FDR said “not a single war millionaire” would be permitted. To ensure that, any increase in a company’s profits over prewar levels was taxed at 85%. And when what was left after corporate taxes reached individuals, it was taxed again at a marginal rate of 93%. [2]

Socially too the war tended to decrease variation. Over 16 million men and women from all sorts of different backgrounds were brought together in a way of life that was literally uniform. Service rates for men born in the early 1920s approached 80%. And working toward a common goal, often under stress, brought them still closer together.

Though strictly speaking World War II lasted less than 4 years for the USA, its effects lasted longer and cycled North towards Canada.

Wars make central governments more powerful, and World War II was an extreme case of this. In the US, as in all the other Allied countries, the federal government was slow to give up the new powers it had acquired. Indeed, in some respects the war didn’t end in 1945; the enemy just switched to the Soviet Union. In tax rates, federal power, defense spending, conscription, and nationalism the decades after the war looked more like wartime than prewar peacetime. [3] And the social effects lasted too. The kid pulled into the army from behind a mule team in West Virginia didn’t simply go back to the farm afterward. Something else was waiting for him, something that looked a lot like the army.

If total war was the big political story of the 20th century, the big economic story was the rise of new kind of company. And this too tended to produce both social and economic cohesion. [4]

The 20th century was the century of the big, national corporation. General Electric, General Foods, General Motors. Developments in finance, communications, transportation, and manufacturing enabled a new type of company whose goal was above all scale. Version 1 of this world was low-res: a Duplo world of a few giant companies dominating each big market. [5]

The late 19th and early 20th centuries had been a time of consolidation, led especially by J. P. Morgan. Thousands of companies run by their founders were merged into a couple hundred giant ones run by professional managers. Economies of scale ruled the day. It seemed to people at the time that this was the final state of things. John D. Rockefeller said in 1880

Image result for john d rockefeller

The day of combination is here to stay. Individualism has gone, never to return.

He turned out to be mistaken, but he seemed right for the next hundred years.

The consolidation that began in the late 19th century continued for most of the 20th. By the end of World War II, as Michael Lind writes, “the major sectors of the economy were either organized as government-backed cartels or dominated by a few oligopolistic corporations.”

For consumers this new world meant the same choices everywhere, but only a few of them. When I grew up there were only 2 or 3 of most things, and since they were all aiming at the middle of the market there wasn’t much to differentiate them.

One of the most important instances of this phenomenon was in TV.

Popular culture and daily life of Americans in the 1950s - WWJD

Here there were 3 choices: NBC, CBS, and ABC. Plus public TV for eggheads and communists (jk). The programs the 3 networks offered were indistinguishable. In fact, here there was a triple pressure toward the center. If one show did try something daring, local affiliates in conservative markets would make them stop. Plus since TVs were expensive whole families watched the same shows together, so they had to be suitable for everyone.

And not only did everyone get the same thing, they got it at the same time. It’s difficult to imagine now, but every night tens of millions of families would sit down together in front of their TV set watching the same show, at the same time, as their next door neighbors. What happens now with the Super Bowl used to happen every night. We were literally in sync. [6]

In a way mid-century TV culture was good. The view it gave of the world was like you’d find in a children’s book, and it probably had something of the effect that (parents hope) children’s books have in making people behave better. But, like children’s books, TV was also misleading. Dangerously misleading, for adults. In his autobiography, Robert MacNeil talks of seeing gruesome images that had just come in from Vietnam and thinking, we can’t show these to families while they’re having dinner.

I know how pervasive the common culture was, because I tried to opt out of it, and it was practically impossible to find alternatives.

When I was 13 I realized, more from internal evidence than any outside source, that the ideas we were being fed on TV were crap, and I stopped watching it. [7] But it wasn’t just TV. It seemed like everything around me was crap. The politicians all saying the same things, the consumer brands making almost identical products with different labels stuck on to indicate how prestigious they were meant to be, the balloon-frame houses with fake “colonial” skins, the cars with several feet of gratuitous metal on each end that started to fall apart after a couple years, the “red delicious” apples that were red but only nominally apples. And in retrospect, it was crap. [8]

But when I went looking for alternatives to fill this void, I found practically nothing. There was no Internet then. The only place to look was in the chain bookstore in our local shopping mall. [9] There I found a copy of The Atlantic. I wish I could say it became a gateway into a wider world, but in fact I found it boring and incomprehensible. Like a kid tasting whisky for the first time and pretending to like it, I preserved that magazine as carefully as if it had been a book. I’m sure I still have it somewhere. But though it was evidence that there was, somewhere, a world that wasn’t red delicious, I didn’t find it till college.

It wasn’t just as consumers that the big companies made us similar. They did as employers too. Within companies there were powerful forces pushing people toward a single model of how to look and act. IBM was particularly notorious for this, but they were only a little more extreme than other big companies. And the models of how to look and act varied little between companies. Meaning everyone within this world was expected to seem more or less the same. And not just those in the corporate world, but also everyone who aspired to it—which in the middle of the 20th century meant most people who weren’t already in it. For most of the 20th century, working-class people tried hard to look middle class. You can see it in old photos. Few adults aspired to look dangerous in 1950.

But the rise of national corporations didn’t just compress us culturally. It compressed us economically too, and on both ends.

Along with giant national corporations, we got giant national labor unions. And in the mid 20th century the corporations cut deals with the unions where they paid over market price for labor. Partly because the unions were monopolies. [10] Partly because, as components of oligopolies themselves, the corporations knew they could safely pass the cost on to their customers, because their competitors would have to as well. And partly because in mid-century most of the giant companies were still focused on finding new ways to milk economies of scale. Just as startups rightly pay AWS a premium over the cost of running their own servers so they can focus on growth, many of the big national corporations were willing to pay a premium for labor. [11]

As well as pushing incomes up from the bottom, by overpaying unions, the big companies of the 20th century also pushed incomes down at the top, by underpaying their top management. Economist J. K. Galbraith wrote in 1967 that “There are few corporations in which it would be suggested that executive salaries are at a maximum.” [12]

Speaking Out Meant Standing Alone

To some extent this was an illusion.

Much of the de facto pay of executives never showed up on their income tax returns, because it took the form of perks. The higher the rate of income tax, the more pressure there was to pay employees upstream of it. (In the UK, where taxes were even higher than in the US, companies would even pay their kids’ private school tuitions.) One of the most valuable things the big companies of the mid 20th century gave their employees was job security, and this too didn’t show up in tax returns or income statistics. So the nature of employment in these organizations tended to yield falsely low numbers about economic inequality. But even accounting for that, the big companies paid their best people less than market price. There was no market; the expectation was that you’d work for the same company for decades if not your whole career. [13]

Your work was so illiquid there was little chance of getting market price. But that same illiquidity also encouraged you not to seek it. If the company promised to employ you till you retired and give you a pension afterward, you didn’t want to extract as much from it this year as you could. You needed to take care of the company so it could take care of you. Especially when you’d been working with the same group of people for decades. If you tried to squeeze the company for more money, you were squeezing the organization that was going to take care of them. Plus if you didn’t put the company first you wouldn’t be promoted, and if you couldn’t switch ladders, promotion on this one was the only way up. [14]

To someone who’d spent several formative years in the armed forces, this situation didn’t seem as strange as it does to us now. From their point of view, as big company executives, they were high-ranking officers. They got paid a lot more than privates. They got to have expense account lunches at the best restaurants and fly around on the company’s Gulfstreams. It probably didn’t occur to most of them to ask if they were being paid market price.

The ultimate way to get market price is to work for yourself, by starting your own company. That seems obvious to any ambitious person now. But in the mid 20th century it was an alien concept. Not because starting one’s own company seemed too ambitious, but because it didn’t seem ambitious enough. Even as late as the 1970s, when I grew up, the ambitious plan was to get lots of education at prestigious institutions, and then join some other prestigious institution and work one’s way up the hierarchy. Your prestige was the prestige of the institution you belonged to. People did start their own businesses of course, but educated people rarely did, because in those days there was practically zero concept of starting what we now call a startup: a business that starts small and grows big. That was much harder to do in the mid 20th century. Starting one’s own business meant starting a business that would start small and stay small. Which in those days of big companies often meant scurrying around trying to avoid being trampled by elephants. It was more prestigious to be one of the executive class riding the elephant.

By the 1970s, no one stopped to wonder where the big prestigious companies had come from in the first place.

Famous 1970s Logos: The Best 70s Logo Design Examples

It seemed like they’d always been there, like the chemical elements. And indeed, there was a double wall between ambitious kids in the 20th century and the origins of the big companies. Many of the big companies were roll-ups that didn’t have clear founders. And when they did, the founders didn’t seem like us. Nearly all of them had been uneducated, in the sense of not having been to college. They were what Shakespeare called rude mechanicals. College trained one to be a member of the professional classes. Its graduates didn’t expect to do the sort of grubby menial work that Andrew Carnegie or Henry Ford started out doing. [15]

And in the 20th century there were more and more college graduates. They increased from about 2% of the population in 1900 to about 25% in 2000. In the middle of the century our two big forces intersect, in the form of the GI Bill, which sent 2.2 million World War II veterans to college. Few thought of it in these terms, but the result of making college the canonical path for the ambitious was a world in which it was socially acceptable to work for Henry Ford, but not to be Henry Ford. [16]

I remember this world well. I came of age just as it was starting to break up. In my childhood it was still dominant. Not quite so dominant as it had been. We could see from old TV shows and yearbooks and the way adults acted that people in the 1950s and 60s had been even more conformist than us. The mid-century model was already starting to get old. But that was not how we saw it at the time. We would at most have said that one could be a bit more daring in 1975 than 1965. And indeed, things hadn’t changed much yet.

But change was coming soon.

And when the Duplo economy started to disintegrate, it disintegrated in several different ways at once. Vertically integrated companies literally dis-integrated because it was more efficient to. Incumbents faced new competitors as (a) markets went global and (b) technical innovation started to trump economies of scale, turning size from an asset into a liability. Smaller companies were increasingly able to survive as formerly narrow channels to consumers broadened. Markets themselves started to change faster, as whole new categories of products appeared. And last but not least, the federal government, which had previously smiled upon J. P. Morgan’s world as the natural state of things, began to realize it wasn’t the last word after all.

What J. P. Morgan was to the horizontal axis, Henry Ford was to the vertical. He wanted to do everything himself. The giant plant he built at River Rouge between 1917 and 1928 literally took in iron ore at one end and sent cars out the other. 100,000 people worked there. At the time it seemed the future. But that is not how car companies operate today. Now much of the design and manufacturing happens in a long supply chain, whose products the car companies ultimately assemble and sell. The reason car companies operate this way is that it works better. Each company in the supply chain focuses on what they know best. And they each have to do it well or they can be swapped out for another supplier.

Why didn’t Henry Ford realize that networks of cooperating companies work better than a single big company?

One reason is that supplier networks take a while to evolve. In 1917, doing everything himself seemed to Ford the only way to get the scale he needed. And the second reason is that if you want to solve a problem using a network of cooperating companies, you have to be able to coordinate their efforts, and you can do that much better with computers. Computers reduce the transaction costs that Coase argued are the raison d’etre of corporations. That is a fundamental change.

In the early 20th century, big companies were synonymous with efficiency. In the late 20th century they were synonymous with inefficiency. To some extent this was because the companies themselves had become sclerotic. But it was also because our standards were higher.

It wasn’t just within existing industries that change occurred. The industries themselves changed. It became possible to make lots of new things, and sometimes the existing companies weren’t the ones who did it best.

Microcomputers are a classic example.

Ms Dos 1.25 (1982)(Microsoft) Game

The market was pioneered by upstarts like Apple, Radio Shack and Atari. When it got big enough, IBM decided it was worth paying attention to. At the time IBM completely dominated the computer industry. They assumed that all they had to do, now that this market was ripe, was to reach out and pick it. Most people at the time would have agreed with them. But what happened next illustrated how much more complicated the world had become. IBM did launch a microcomputer. Though quite successful, it did not crush Apple. But even more importantly, IBM itself ended up being supplanted by a supplier coming in from the side—from software, which didn’t even seem to be the same business. IBM’s big mistake was to accept a non-exclusive license for DOS. It must have seemed a safe move at the time. No other computer manufacturer had ever been able to outsell them. What difference did it make if other manufacturers could offer DOS too? The result of that miscalculation was an explosion of inexpensive PC clones. Microsoft now owned the PC standard, and the customer. And the microcomputer business ended up being Apple vs Microsoft.

Basically, Apple bumped IBM and then Microsoft stole its wallet. That sort of thing did not happen to big companies in mid-century. But it was going to happen increasingly often in the future.

Change happened mostly by itself in the computer business. In other industries, legal obstacles had to be removed first. Many of the mid-century oligopolies had been anointed by the federal government with policies (and in wartime, large orders) that kept out competitors. This didn’t seem as dubious to government officials at the time as it sounds to us. They felt a two-party system ensured sufficient competition in politics. It ought to work for business too.

Gradually the government realized that anti-competitive policies were doing more harm than good, and during the Carter administration started to remove them.

The word used for this process was misleadingly narrow: deregulation. What was really happening was de-oligopolization. It happened to one industry after another. Two of the most visible to consumers were air travel and long-distance phone service, which both became dramatically cheaper after deregulation.

Deregulation also contributed to the wave of hostile takeovers in the 1980s. In the old days the only limit on the inefficiency of companies, short of actual bankruptcy, was the inefficiency of their competitors. Now companies had to face absolute rather than relative standards. Any public company that didn’t generate sufficient returns on its assets risked having its management replaced with one that would. Often the new managers did this by breaking companies up into components that were more valuable separately. [17]

Version 1 of the national economy consisted of a few big blocks whose relationships were negotiated in back rooms by a handful of executives, politicians, regulators, and labor leaders. Version 2 was higher resolution: there were more companies, of more different sizes, making more different things, and their relationships changed faster. In this world there were still plenty of back room negotiations, but more was left to market forces. Which further accelerated the fragmentation.

It’s a little misleading to talk of versions when describing a gradual process, but not as misleading as it might seem. There was a lot of change in a few decades, and what we ended up with was qualitatively different. The companies in the S&P 500 in 1958 had been there an average of 61 years. By 2012 that number was 18 years. [18]

The breakup of the Duplo economy happened simultaneously with the spread of computing power. To what extent were computers a precondition? It would take a book to answer that. Obviously the spread of computing power was a precondition for the rise of startups. I suspect it was for most of what happened in finance too. But was it a precondition for globalization or the LBO wave? I don’t know, but I wouldn’t discount the possibility. It may be that the refragmentation was driven by computers in the way the industrial revolution was driven by steam engines. Whether or not computers were a precondition, they have certainly accelerated it.

The new fluidity of companies changed people’s relationships with their employers. Why climb a corporate ladder that might be yanked out from under you? Ambitious people started to think of a career less as climbing a single ladder than as a series of jobs that might be at different companies. More movement (or even potential movement) between companies introduced more competition in salaries. Plus as companies became smaller it became easier to estimate how much an employee contributed to the company’s revenue. Both changes drove salaries toward market price. And since people vary dramatically in productivity, paying market price meant salaries started to diverge.

By no coincidence it was in the early 1980s that the term “yuppie” was coined. That word is not much used now, because the phenomenon it describes is so taken for granted, but at the time it was a label for something novel. Yuppies were young professionals who made lots of money. To someone in their twenties today, this wouldn’t seem worth naming. Why wouldn’t young professionals make lots of money? But until the 1980s being underpaid early in your career was part of what it meant to be a professional. Young professionals were paying their dues, working their way up the ladder. The rewards would come later. What was novel about yuppies was that they wanted market price for the work they were doing now.

The first yuppies did not work for startups.

AM2407 Spark blog: 1980s - The Yuppie

That was still in the future. Nor did they work for big companies. They were professionals working in fields like law, finance, and consulting. But their example rapidly inspired their peers. Once they saw that new BMW 325i, they wanted one too.

Underpaying people at the beginning of their career only works if everyone does it. Once some employer breaks ranks, everyone else has to, or they can’t get good people. And once started this process spreads through the whole economy, because at the beginnings of people’s careers they can easily switch not merely employers but industries.

But not all young professionals benefitted. You had to produce to get paid a lot. It was no coincidence that the first yuppies worked in fields where it was easy to measure that.

More generally, an idea was returning whose name sounds old-fashioned precisely because it was so rare for so long: that you could make your fortune. As in the past there were multiple ways to do it. Some made their fortunes by creating wealth, and others by playing zero-sum games. But once it became possible to make one’s fortune, the ambitious had to decide whether or not to. A physicist who chose physics over Wall Street in 1990 was making a sacrifice that a physicist in 1960 wasn’t.

The idea even flowed back into big companies. CEOs of big companies make more now than they used to, and I think much of the reason is prestige. In 1960, corporate CEOs had immense prestige. They were the winners of the only economic game in town. But if they made as little now as they did then, in real dollar terms, they’d seem like small fry compared to professional athletes and whiz kids making millions from startups and hedge funds. They don’t like that idea, so now they try to get as much as they can, which is more than they had been getting. [19]

Meanwhile a similar fragmentation was happening at the other end of the economic scale. As big companies’ oligopolies became less secure, they were less able to pass costs on to customers and thus less willing to overpay for labor. And as the Duplo world of a few big blocks fragmented into many companies of different sizes—some of them overseas—it became harder for unions to enforce their monopolies. As a result workers’ wages also tended toward market price. Which (inevitably, if unions had been doing their job) tended to be lower. Perhaps dramatically so, if automation had decreased the need for some kind of work.

And just as the mid-century model induced social as well as economic cohesion, its breakup brought social as well as economic fragmentation. People started to dress and act differently. Those who would later be called the “creative class” became more mobile. People who didn’t care much for religion felt less pressure to go to church for appearances’ sake, while those who liked it a lot opted for increasingly colorful forms. Some switched from meat loaf to tofu, and others to Hot Pockets. Some switched from driving Ford sedans to driving small imported cars, and others to driving SUVs. Kids who went to private schools or wished they did started to dress “preppy,” and kids who wanted to seem rebellious made a conscious effort to look disreputable. In a hundred ways people spread apart. [20]

Almost four decades later, fragmentation is still increasing.

Has it been net good or bad? I don’t know; the question may be unanswerable. Not entirely bad though. We take for granted the forms of fragmentation we like, and worry only about the ones we don’t. But as someone who caught the tail end of mid-century conformism, I can tell you it was no utopia. [21]

My goal here is not to say whether fragmentation has been good or bad, just to explain why it’s happening. With the centripetal forces of total war and 20th century oligopoly mostly gone, what will happen next? And more specifically, is it possible to reverse some of the fragmentation we’ve seen?

If it is, it will have to happen piecemeal. You can’t reproduce mid-century cohesion the way it was originally produced. It would be insane to go to war just to induce more national unity. And once you understand the degree to which the economic history of the 20th century was a low-res version 1, it’s clear you can’t reproduce that either.

20th century cohesion was something that happened at least in a sense naturally. The war was due mostly to external forces, and the Duplo economy was an evolutionary phase. If you want cohesion now, you’d have to induce it deliberately. And it’s not obvious how. I suspect the best we’ll be able to do is address the symptoms of fragmentation. But that may be enough.

The form of fragmentation people worry most about lately is economic inequality, and if you want to eliminate that you’re up against a truly formidable headwind—one that has been in operation since the stone age: technology. Technology is a lever. It magnifies work. And the lever not only grows increasingly long, but the rate at which it grows is itself increasing.

Which in turn means the variation in the amount of wealth people can create has not only been increasing, but accelerating.

The unusual conditions that prevailed in the mid 20th century masked this underlying trend. The ambitious had little choice but to join large organizations that made them march in step with lots of other people—literally in the case of the armed forces, figuratively in the case of big corporations. Even if the big corporations had wanted to pay people proportionate to their value, they couldn’t have figured out how. But that constraint has gone now. Ever since it started to erode in the 1970s, we’ve seen the underlying forces at work again. [22]

Not everyone who gets rich now does it by creating wealth, certainly. But a significant number do, and the Baumol Effect means all their peers get dragged along too. [23] And as long as it’s possible to get rich by creating wealth, the default tendency will be for economic inequality to increase. Even if you eliminate all the other ways to get rich. You can mitigate this with subsidies at the bottom and taxes at the top, but unless taxes are high enough to discourage people from creating wealth, you’re always going to be fighting a losing battle against increasing variation in productivity. [24]

That form of fragmentation, like the others, is here to stay. Or rather, back to stay. Nothing is forever, but the tendency toward fragmentation should be more forever than most things, precisely because it’s not due to any particular cause. It’s simply a reversion to the mean. When Rockefeller said individualism was gone, he was right for a hundred years. It’s back now, and that’s likely to be true for longer.

I worry that if we don’t acknowledge this, we’re headed for trouble.

If we think 20th century cohesion disappeared because of few policy tweaks, we’ll be deluded into thinking we can get it back (minus the bad parts, somehow) with a few countertweaks. And then we’ll waste our time trying to eliminate fragmentation, when we’d be better off thinking about how to mitigate its consequences.

Notes

[1] Lester Thurow, writing in 1975, said the wage differentials prevailing at the end of World War II had become so embedded that they “were regarded as ‘just’ even after the egalitarian pressures of World War II had disappeared. Basically, the same differentials exist to this day, thirty years later.” But Goldin and Margo think market forces in the postwar period also helped preserve the wartime compression of wages—specifically increased demand for unskilled workers, and oversupply of educated ones.

(Oddly enough, the American custom of having employers pay for health insurance derives from efforts by businesses to circumvent NWLB wage controls in order to attract workers.)

[2] As always, tax rates don’t tell the whole story. There were lots of exemptions, especially for individuals. And in World War II the tax codes were so new that the government had little acquired immunity to tax avoidance. If the rich paid high taxes during the war it was more because they wanted to than because they had to.

After the war, federal tax receipts as a percentage of GDP were about the same as they are now.

In fact, for the entire period since the war, tax receipts have stayed close to 18% of GDP, despite dramatic changes in tax rates. The lowest point occurred when marginal income tax rates were highest: 14.1% in 1950. Looking at the data, it’s hard to avoid the conclusion that tax rates have had little effect on what people actually paid.

[3] Though in fact the decade preceding the war had been a time of unprecedented federal power, in response to the Depression. Which is not entirely a coincidence, because the Depression was one of the causes of the war. In many ways the New Deal was a sort of dress rehearsal for the measures the federal government took during wartime. The wartime versions were much more drastic and more pervasive though. As Anthony Badger wrote, “for many Americans the decisive change in their experiences came not with the New Deal but with World War II.”

[4] I don’t know enough about the origins of the world wars to say, but it’s not inconceivable they were connected to the rise of big corporations. If that were the case, 20th century cohesion would have a single cause.

[5] More precisely, there was a bimodal economy consisting, in Galbraith’s words, of “the world of the technically dynamic, massively capitalized and highly organized corporations on the one hand and the hundreds of thousands of small and traditional proprietors on the other.” Money, prestige, and power were concentrated in the former, and there was near zero crossover.

[6] I wonder how much of the decline in families eating together was due to the decline in families watching TV together afterward.

[7] I know when this happened because it was the season Dallas premiered. Everyone else was talking about what was happening on Dallas, and I had no idea what they meant.

[8] I didn’t realize it till I started doing research for this essay, but the meretriciousness of the products I grew up with is a well-known byproduct of oligopoly. When companies can’t compete on price, they compete on tailfins.

[9] Monroeville Mall was at the time of its completion in 1969 the largest in the country. In the late 1970s the movie Dawn of the Dead was shot there. Apparently the mall was not just the location of the movie, but its inspiration; the crowds of shoppers drifting through this huge mall reminded George Romero of zombies. My first job was scooping ice cream in the Baskin-Robbins.

[10] Labor unions were exempted from antitrust laws by the Clayton Antitrust Act in 1914 on the grounds that a person’s work is not “a commodity or article of commerce.” I wonder if that means service companies are also exempt.

[11] The relationships between unions and unionized companies can even be symbiotic, because unions will exert political pressure to protect their hosts. According to Michael Lind, when politicians tried to attack the A&P supermarket chain because it was putting local grocery stores out of business, “A&P successfully defended itself by allowing the unionization of its workforce in 1938, thereby gaining organized labor as a constituency.” I’ve seen this phenomenon myself: hotel unions are responsible for more of the political pressure against Airbnb than hotel companies.

[12] Galbraith was clearly puzzled that corporate executives would work so hard to make money for other people (the shareholders) instead of themselves. He devoted much of The New Industrial State to trying to figure this out.

His theory was that professionalism had replaced money as a motive, and that modern corporate executives were, like (good) scientists, motivated less by financial rewards than by the desire to do good work and thereby earn the respect of their peers. There is something in this, though I think lack of movement between companies combined with self-interest explains much of observed behavior.

[13] Galbraith (p. 94) says a 1952 study of the 800 highest paid executives at 300 big corporations found that three quarters of them had been with their company for more than 20 years.

[14] It seems likely that in the first third of the 20th century executive salaries were low partly because companies then were more dependent on banks, who would have disapproved if executives got too much. This was certainly true in the beginning. The first big company CEOs were J. P. Morgan’s hired hands.

Companies didn’t start to finance themselves with retained earnings till the 1920s. Till then they had to pay out their earnings in dividends, and so depended on banks for capital for expansion. Bankers continued to sit on corporate boards till the Glass-Steagall act in 1933.

By mid-century big companies funded 3/4 of their growth from earnings. But the early years of bank dependence, reinforced by the financial controls of World War II, must have had a big effect on social conventions about executive salaries. So it may be that the lack of movement between companies was as much the effect of low salaries as the cause.

Incidentally, the switch in the 1920s to financing growth with retained earnings was one cause of the 1929 crash. The banks now had to find someone else to lend to, so they made more margin loans.

[15] Even now it’s hard to get them to. One of the things I find hardest to get into the heads of would-be startup founders is how important it is to do certain kinds of menial work early in the life of a company. Doing things that don’t scale is to how Henry Ford got started as a high-fiber diet is to the traditional peasant’s diet: they had no choice but to do the right thing, while we have to make a conscious effort.

[16] Founders weren’t celebrated in the press when I was a kid. “Our founder” meant a photograph of a severe-looking man with a walrus mustache and a wing collar who had died decades ago. The thing to be when I was a kid was an executive. If you weren’t around then it’s hard to grasp the cachet that term had. The fancy version of everything was called the “executive” model.

[17] The wave of hostile takeovers in the 1980s was enabled by a combination of circumstances: court decisions striking down state anti-takeover laws, starting with the Supreme Court’s 1982 decision in Edgar v. MITE Corp.; the Reagan administration’s comparatively sympathetic attitude toward takeovers; the Depository Institutions Act of 1982, which allowed banks and savings and loans to buy corporate bonds; a new SEC rule issued in 1982 (rule 415) that made it possible to bring corporate bonds to market faster; the creation of the junk bond business by Michael Milken; a vogue for conglomerates in the preceding period that caused many companies to be combined that never should have been; a decade of inflation that left many public companies trading below the value of their assets; and not least, the increasing complacency of managements.

[18] Foster, Richard. “Creative Destruction Whips through Corporate America.” Innosight, February 2012.

[19] CEOs of big companies may be overpaid. I don’t know enough about big companies to say. But it is certainly not impossible for a CEO to make 200x as much difference to a company’s revenues as the average employee. Look at what Steve Jobs did for Apple when he came back as CEO. It would have been a good deal for the board to give him 95% of the company. Apple’s market cap the day Steve came back in July 1997 was 1.73 billion. 5% of Apple now (January 2016) would be worth about 30 billion. And it would not be if Steve hadn’t come back; Apple probably wouldn’t even exist anymore.

Merely including Steve in the sample might be enough to answer the question of whether public company CEOs in the aggregate are overpaid. And that is not as facile a trick as it might seem, because the broader your holdings, the more the aggregate is what you care about.

[20] The late 1960s were famous for social upheaval. But that was more rebellion (which can happen in any era if people are provoked sufficiently) than fragmentation. You’re not seeing fragmentation unless you see people breaking off to both left and right.

[21] Globally the trend has been in the other direction. While the US is becoming more fragmented, the world as a whole is becoming less fragmented, and mostly in good ways.

[22] There were a handful of ways to make a fortune in the mid 20th century. The main one was drilling for oil, which was open to newcomers because it was not something big companies could dominate through economies of scale. How did individuals accumulate large fortunes in an era of such high taxes? Giant tax loopholes defended by two of the most powerful men in Congress, Sam Rayburn and Lyndon Johnson.

But becoming a Texas oilman was not in 1950 something one could aspire to the way starting a startup or going to work on Wall Street were in 2000, because (a) there was a strong local component and (b) success depended so much on luck.

[23] The Baumol Effect induced by startups is very visible in Silicon Valley. Google will pay people millions of dollars a year to keep them from leaving to start or join startups.

[24] I’m not claiming variation in productivity is the only cause of economic inequality in the US. But it’s a significant cause, and it will become as big a cause as it needs to, in the sense that if you ban other ways to get rich, people who want to get rich will use this route instead.

Thanks to Sam Altman, Trevor Blackwell, Paul Buchheit, Patrick Collison, Ron Conway, Chris Dixon, Benedict Evans, Richard Florida, Ben Horowitz, Jessica Livingston, Robert Morris, Tim O’Reilly, Geoff Ralston, Max Roser, Alexia Tsotsis, and Qasar Younis for reading drafts of this. Max also told me about several valuable sources. Essay from http://paulgraham.com/re.html

Bibliography

Allen, Frederick Lewis. The Big Change. Harper, 1952.

Averitt, Robert. The Dual Economy. Norton, 1968.

Badger, Anthony. The New Deal. Hill and Wang, 1989.

Bainbridge, John. The Super-Americans. Doubleday, 1961.

Beatty, Jack. Collossus. Broadway, 2001.

Brinkley, Douglas. Wheels for the World. Viking, 2003.

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Found Objects & Waste Transmutation Dominates African Art?

Found Object, Recycled Art, Readymade or Junk Art?

Abstract

The phenomenon of found objects and waste transmutation into works of art, dominates contemporary African art ostensibly as the new continental creative identity. Majority of contemporary African artists experiment with waste as their preferred artistic medium and find in them (waste), potent metaphors for creative expressionism. However, although this art form is rapidly gaining prominence and international acclaim, it is surrounded by equivocations emanating from available literature sources.

Calixte Dakpogan – between tradition and modernism | AFRICAN CONTEMPORARY ART NOW (wordpress.com)

Discourses have emerged which attempts to theorize this genre of art but such discourses have only created varying levels of ambiguities which impedes understanding of its history, conceptuality and context in contemporary art-space. This article reviews recent literature dealing with found object appropriation in Africa, to expose the obscurities inherent in such studies. Using discourse analysis, this review indicates the existence of ambiguities ranging from terminology devising and classification to issues of hegemonic exclusivity and problems of contextualization. On the premise of these existing gray areas, I propose an in-depth study into this modern African art type, such study should adopt a particularized system to investigate the methodology of African found object art, its ideology and cultural motivation as basic criteria to enable our understanding and establishing of this modern art form as traditional to Africa in form, content and context and subsequently differentiate it from those of European art conventions to which it is currently erroneously likened to.

Keywords: Found Object, Readymade, Ambiguity, Junk Art, Upcycling, Surrealistic Object, Bricolage.

1. Introduction

Incorporation of materials from pop culture into African visual practice may have existed since the continent’s encounter with the west during slave trade and even earlier, as evidenced in the use of European spirit bottles assembled to build deities and shrines (Shiner 1994). But very little is found in literature that provides an account of any in-depth investigation into the historiography of this African art convention. This art genre (waste and found objects appropriation) has proliferated across the entire continent and now dominates contemporary art practice. As observed by Sylla and Bertelsen (1998), “found object art dominates modern African visual practice and very few are those who have not practice found object appropriation art in the continent”.

Numerous reasons are responsible for the fast propagation of this art type and subsequent adoption of ‘bricolage’ creative methodology by African artists, but the most noticeable factor is globalisation (Shiner 1994, Sylla & Mertelsen 1998). While through 21 st century advances in technology and innovations the world is becoming a global village, it conversely leads to increased consumption and accompanying generation of varieties of waste. These waste and found materials occasioned by modernity, become materials for artistic use (Kart 2009). Modern waste (the bye products of modernity and civilization) are employed by Africans as effective visual metaphors for creative explorations and expressionism. This interconnectivity between globalization, modernity and waste generation, accompanied by technological advancements in contemporary Africa, results in waste uniquely adapted into art to a high level it has even been argued that, discarded objects incorporation into art originated from Africa. Evans (2010, p.1) posited that, “through found object transformation, African artists have created a truly unique art form and have bequeathed a new art context to the world”. Reasons being that, for many contemporary African artists trained in western art education systems and equipped with such artistic conceptualism, interrogating the rich meanings locked in waste and found objects is considered quintessential for artistic self expressionism and creation of heighten multifarious layers of meanings since according to Aniakor (2013), “images and objects are plaited with meanings and only by interrogating them, that knowledge is extended and certain messages and ideologies expressed”. Thus, such artists tailor their creative experimentations towards achieving artistic self expressionism and higher codified meanings. This is because as observed by O.Connor, found object artworks are believed to be enriched with superlative double fluidity of meaning (Op cit 2013).

Mamiwata, 2006 Calixte Dakpogan

It is perhaps achieving that fluidity of meaning which has driven modern African artists to position themselves as material experimentalist to creatively interrogate waste and found objects, exploring their artistic qualities and meanings, as well as using such works to reflect societal circumstances and issues in contemporary Africa, as the basis for their art. They do so because, according to Fontaine (2010, p57), “by engaging with ready-mades from pop culture, the artist becomes an agency through which the inherent beauty and art qualities trapped in found/waste materials are brought to lime light via transmutation”.

From an African

Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 42 trajectory, not just the beauty in waste is considered but the circumstances creating these waste (globalization, modernity and consumption) forms the ideological/conceptual framework for waste transformation into new art conventions. Whilst this genre of art is gaining prominence and widespread international recognition, it has stirred up scholarly interest from both African/western art historians and critics. Available literature with regards to this contemporary African art form, consist of numerous ambiguities which impedes understanding of its contextual artistic existence. Such literatures have sprang up in the 21st century by scholars [African and western] who, ignoring the historiography of this African art form, only problematically treat found object transmutation into art in Africa as a recent artistic endeavour.

A lot of hasty generalizations and confused contextualizations exist, pointing to the fact that no in-depth research has been conducted to provide clarity to existing gaps in this body of knowledge. Some scholars have struggled with devising a rubric for this art form that will define and categorize it as African. Others have adopted what may be considered a problematic discourse of likening this art form in parallel morphological and ideological terms with European Readymade, Dadaism, Surrealism and Found Object Art, indicating the extent to which scholars have grappled with this subject.

The rubric ‘Recycling in Contemporary African Art’ has been problematically adopted by scholars to holistically describe this African art form in the past two decades, a rubric which Binder (2008) argues that is “misleading”. Binders view point is supported by Van-Dyk who observed that “A lot of artists have made art out of found materials before the word ‘recycle’ was even known in our society… the term Recycling in African Art therefore is a misconception” (Van- Dyk, 2013. P2). This paper reviews recent articles and catalogues which deals with waste transmutation into art, in order to reveal the ambiguities surrounding this modern art genre in Africa, it goes further to posit that for proper understanding to be attained, an in-depth research into found object art is exigent.

Providing solutions to these existing gaps is beyond the scope of this paper, however, in the course of this discourse, insights will be provided into ways through which studies can be effectively directed using cultural perspectivalism of particularised methodological investigation which will enable the possible establishing of this contemporary art convention as African in form, content, and context and, distinguish it from those of western art culture.

2. Articles, Submissions and Gray Areas on waste ‘Upcycling’ into contemporary Africa art:

Four literature sources (three papers and a book) are reviewed in this section to bring to lime light gray areas and gaps in the body of knowledge with regards to found object appropriation in contemporary African art.

African Folk Art Recycled Tin Can Turtle Tanzania

2.1 Globalizing East African Culture: From Junk to Jua Kali Art.

By Margaretta Swigert-Gacheru 2011 Swigert-Gacheru’s paper focuses on waste transformation into art practiced in East Africa, using Kenya as case study. The main idea from an economic and innovative view point purported by the author is that, Jua Kali Ingenuity which culminates into Kenyan Junk Art is a contemporary East African renaissance movement which not only defines a unique genre of art, but contributes to boosting the economy through its bricolage productivity. Also, the author pointed out that Jua Kali is the most dynamic contemporary art form in Kenya which exists as a heighten level of creative ingenuity inspired by the presence of global waste/throw-away and poverty (Swigert- Gacheru 2011. P129).

She further observed that, by virtue of its appropriation of global waste, Jua Kali Junk Art bridges the gap between African and western art worlds by creating a global flow through such hybridization which in turn defies the myth of tribal art and primitive order (Swigert-Gacheru 2011. P127). Another submission made by the author is that, through creative resuscitation of discarded materials deposited in East Africa from Europe, Jua Kali Junk Art combines makeshift creativity with entrepreneurship as a strategy for survival (Swigert-Gacheru 2011. P129). Thus, poverty is cited as the motivation for the innovation of Jua Kali Junk Art in Kenya, whilst various artists inspired by economic hardship are listed. Although Swigert-Gacheru presents evidence of how makeshift creativity in the arts can boost the economy of both the artists and the nation, and also brought to lime light the fact that this ingenuity in East Africa was relegated to the background before now by scholars, the authors classification of what constitutes junk and debris is very confusing and especially problematic because this classification is the proviso for her dubbing of this art form as Junk Art.

The author stated that Junk Art is made from electronic garbage and found natural objects, while environmental debris and old clothes are used in installation (Swigert-Gacheru 2011, p. 131). This classification brings about various unanswered questions which subvert this genre of contemporary African art. For instance, can all art made from junk in Africa be classified as Junk Art? How does natural found object like stones, sea shells etc which are not electronic garbage justify their inclusion in the categorisation Junk Art? Or, does the inclusion of discarded materials into an artwork in this case as the author enumerated (old clothes and environmental debris), automatically transform such works into installation art? Is discarded material Upcycling into art, the-same as installation art? By using media as the criterion for devising the rubric ‘Jua Kali Junk Art’, one will assume that all artworks in East Africa or Africa at large made from found, discarded or readymade

Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 43 objects will ideally fall into this category (junk art) but this isn’t the case. Castellote (2011) observed that Olu Amoda uses discarded materials and junk which he prefers to call ‘Re-Purpose Materials’, and that his art be looked at as ‘Repurpose Material Art’. One observes that, Olu Amoda and other African artists even though make use of junk, devise different names for their waste materials and refuse that their artworks be called junk art. This is why Swigert-Gacheru’s adoption of the term junk art to generalize found objects transmutations in Kenya is problematic because other waste appropriation artists in Kenya have different names for their waste materials. Furthermore, by using numerous names for waste materials, devised by different artists as the main trust or generic mode of investigation to explore and interrogate this genre of African art, such line of enquiry as adopted by Swigert-Gacheru and other scholars has only lead to different confused classifications. Two issues stand out from Swigert-Gacheru’s study.

Firstly, the fact that the categorization of what constitutes waste and what falls into the typology debris is problematic means the terminology adopted for this art form is equally problematic. From the author’s submissions, it implies that natural objects, old clothes or environmental debris are excluded from the typology Junk art and by virtue of their waste composition, have become installation art. Also, classifying electronic garbage as the material used for making Junk Art, means they can’t be used in installation art by the author’s submission which makes her proposition very confusing. Secondly the author’s problematic waste categorisation culminates in an inability to differentiate junk art from Installation art. We are thus left with a rubric (Junk Art), which doesn’t even encompass all of Kenya’s found object appropriation, neither does it, reflect or encompass found object transmutation practiced elsewhere in East Africa, nor the entire African continent, and submissions which leaves us unaware of the boundaries between this art (Junk Art) and Installation Art. These unanswered questions and issues stated above, indicates the presence of more than a modicum of gray areas and uncertainties in Swigert-Gacheru’s paper.

2.2 Zimbabwe: The Lost and Found Art.

By Knowledge Mushohwe 2012 This article provides peripheral insights into contemporary African found object appropriation and possesses accompanying obscurities. The main purport of the article is the branding of art that utilizes available waste or ready-mades as ‘Found Object Art’, with the author positing that Zimbabwean artists use found object art as a way of finding meaning in thrash to communicate encoded messages. One major assertion made by the author is that, found object works of art are superlative to the more mundane forms of sculptures which are the old conventions. Arguing that, the punctuated coding system within found object art gives such sculptures a contemplative challenging quality which is an edge over traditional forms of sculpture (Mushohwe, 2012. P1). That additive aesthetic edge is born out of the complex creative process which the author describe as ‘Organised Vandalism’, a process which involves displacing old meanings and forms of objects to create and accord them new forms and meanings (Mushohwe, 2012. P1).

Whilst pointing to the fact that, found object art involves re-contextualisation of objects by dislocating them from their original context and locating them in higher realms of artistic existence, the author equally draws ones attention to the fact that its vandalising nature constitutes a cause for concern as critics question the legality of such practice. Most noticeably and ambiguously so too, is the fact that the author describes and associates found object art in Africa to those of western rebellious art movements. He stated that, “the rebel nature of this found object art is traced to Dadaism and its principal exponent is Marcel Duchamp” (Mushohwe, 2012. p2). Such a bold assertion however, is not proven with adequate facts which make it confusing and problematic as will be enunciated in the next paragraph. Although this paper provides some new insights into this genre of contemporary African sculpture, especially by branding it ‘Found Object Art’ and establishing the fact that, because this art form dislocates discarded objects from their original context to a new creative realm, it assumes contemplative/challenging qualities which accord them aesthetic/creative edge over traditional forms of sculpture such as modelled statues, carvings etc, the article notwithstanding, constitutes further ambiguities and raises various questions.

The author’s likening of this African art convention to Dadaism and purporting that Marcel Duchamp is the founder of Dadaism is shrouded in obscurities without sufficient scholarly evidence to support such claims. Firstly, in as much as Duchamp, Ricaba and Man Ray started anti art in America, Duchamp is not the founder of Dadaism.

Dadaism began in Zurich with artist like Tristan Tzara, Marcel Janco, Jean Arp, etc credited for stemming the process that lead to Dadaism (Hans 1965, Uwe M 1979, Sandqvist 2006). However, Duchamp a pioneer member of anti-art in America originated the ‘Readymade’ which varies from Dadaist Surrealistic objects in various respects. Therefore, his linking of Duchamp’s Readymade and Surrealistic Found Object in same category is problematic. This is because, he implies by such proposition that Duchamp’s Readymade and Surrealist found objects are same art types which from literally evidence is not the case. Duchamp’s Readymade is a conceptual art style arrived at through his disinterested art ideology and experimentation with his ‘Creative Order and Infrathin’ [aesthetics of indifference] emphasizes the intellectual/conceptual content of an artwork over its visual form, to question what defines/constitute art and the entire art institution. Furthermore, such Readymade were unaltered by the artist and only assumed the dignity of art through ‘Dislocated Contextual Description’ (Read 1985, Obalk 2000, Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 45 El Anatsui’s works and practice methodology.

Her main submission is that Anatsui’s works frequently interpreted principally in relation to clothe, should instead be read as conceptual contemporary sculpture, and a localized reading be adopted in discussing his practice of incorporating locally available or sourced materials into his art. The author also argues that the rubric ‘Recycling in Contemporary African Art’ used to describe all modern African art involving material reclamation is misleading. Also, the term Found Object Art is said to be inappropriate and a wrong reflection of Anatsui’s practice and works since the artist himself chooses to refer to his materials and works as “Objects the Environment Yielded” (Binder 2008, p.27). Thus, she refers to Anatsui’s works as ‘Transformations’ instead of Found Object Art on the premise that the term ‘Found Object’ was born to art history of a particular European movement not relating to Africa, so the term ‘Transformation’ is more appropriate and not only signifies ownership but also an elevation of the material form of Anatsui’s art.

Citing Dilomprizulike (The Junk man of Africa) who works with discarded materials and always requires his works whether they are transformed or not to be called ‘Junk’ as an example, Binder argues that although many artists in Africa work with discarded materials, they are dissimilar in many ways thus, the dubbing of this art type “Recycling in Contemporary African Art” is cloaked in misconceptions. Another valid contribution in this paper is the advocating for a ‘Localized Reading’ of discarded material appropriation in modern African art as the most appropriate method of investigation for understanding its individual cultural peculiarities, since studies and categorizations with emphasis on material rather than practice methodology is inadequate. (Binder 2008, p.35)

By proposing a ‘Localized Reading’, the author indicates that dissimilarities exist between African artists practicing found object appropriation and between this African art convention and those of western art cultures. This view is supported by Olu Oguibe who observed that “the found object for Anatsui was not complete in and of itself, but required the transfiguring intervention of human agency in order to be translated into sculptural form thus, his works differ from others” (Oguibe 1998, p.48). This is why Binder proposed a localized reading into individual’s practices to be able to understand this art phenomenon.

What this reiterates is the fact that, the individual/cultural ideology, methodology and motivation behind found object creative manipulation are key to understanding the works produced and determines the way we perceive and appreciate such oeuvres. This is because “ones aesthetic responses are often functions of what one’s beliefs and perceptions about an object are” (Danto 1981. p99). Furthermore, the suggestion for a localized reading into this genre of contemporary African art is one that will provide a possible vantage point towards really understanding its modern art qualities and conceptuality. If a localized methodological reading is adopted perhaps alongside cross cultural comparison, then Binder’s argument that the adopted rubric ‘Recycling in Contemporary African Art’ for this art genre by western and African scholars is ambiguous and misleading will properly be understood and addressed.

This is because, only by understanding the practice methodology, cultural inspiration and ideology upon which these works derive the potency for their artistic being that the point of departure can be established that will lead to a comprehensive understanding as to why this art form may be peculiarly African. This said, propositions in Binder’s article raises a lot of issues that further contribute to the obscurity ubiquitous on this subject matter. The author classifies Anatsui’s artworks as ‘Transformations’ and her decision to adopt this terminology as appropriate for this style of art, hinges on two hypothesis; on the one hand is the fact that the found materials are manipulated creatively and the degree of such manipulation is employed as a vital coefficient and on the other hand, the ideology and intended codified messages locked in the piece to be expressed or communicated to the general public.

This paradigm of thinking though insightful, leads to the following lines of questioning; If the degree of manipulation of the discarded is the basis for devising the rubric and classification ‘Transformation’, how is Anatsui’s works different from Jua Kali Junk Art which adopts even deeper levels of material manipulation? By adopting the degree of artistic manipulation of the discarded as the sine qua non for classification, it is apparent that Anatsui’s assemblages or constructions are not different from Kenyan Junk art nor are they different from those of other Nigerian and African artists who work with found objects. On this premise, can those other works be classified too as Transformations? Or, the other way round, Anatsui’s works as Junk Art? Furthermore, by citing technique of making (Construction) as the basis for differentiating Anatsui’s works from others, does it mean that artworks made with this same technique (Assemblage/Construction) using different materials are or not qualified for this sobriquet Transformations?

Another trajectory in Binder’s investigation is the use of intent/metaphoric content (ideology) behind the works as a criterion and reason for underpinning the exclusive categorization of Anatsui’s works as Transformations. If the conceptuality, and metaphoric content are central to terminology devising for art types, then it becomes very confusing why Anatsui’s art should be treated as exclusive from others nor is there any need for discussing and differentiating found object appropriation in Africa under numerous terminologies by scholars because, almost all African artists who engage in this practice uses their art for same purposes; which according to Peek (2012), “is to create aesthetic objects for appreciation or to comment on the present condition of modern societies”. Issues relating to over consumerism, socio-economic and political ills and cultural/moral decadence are regular Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 46 themes associated with this art genre in Africa, which is equally the conceptual feature in most postcolonial art.

Which is the aesthetics of humanity that engages with the current and transforming state of human race and defined by such extend of engagement with these concerns (Young 2010). As this is the case, based squarely on ideology and messages conveyed like in most post colonial African art, there are no major differences between Anatsui’s art and those of other African artist who work with waste and convey same contemporary concerns in visual form.

Olu Amada “Trois Jeunes Filles

Conversely, will it then be a misplaced submission, if Anatsui’s art is called Junk or Found Object art? Or can Jua Kali Junk Art or that of Zimbabwe, those of Delomprizulike or the works of Olu Amoda qualify to fall under the typology Transformations? While Binder’s article provides great insights into Anatsui’s practice, as well as pointing out the fact that, attempting to generalize this genre of African art under the rubric ‘Recycling in Contemporary African Art’ as is often the case is misleading, and further observing that, adopting Euro-American terminologies and likening African found object art tradition to those of the west is a faulty proposition, her assertions in this article equally bellies lots of uncertainties observed above which hasn’t help provide clarifications needed on this subject.

3. Ambiguities Identified

This brief survey indicates the presence of gaps in the knowledge and discourse of found object appropriation in modern Africa. Thus, various issues emanating from the reviewed literature sources are categorised into the following problems subheadings:

3.1 Muddle Terminologies and Classification Problem

From the foregoing, it is apparent that the first ambiguity is the problem of classification. Terminologies such as Junk Art, Trash Art, Found Object Art, Recycled Art, Transformations, Readymade, Objects the environment yielded, Re-purpose Material Art, etc have all been adopted by scholars and artists alike to exclusively discuss and describe their art as products of individual ingenuity even though their artworks like those of others, equally involves the use of same creative methodologies and ideologies for waste and found object appropriation from pop culture into art in Africa. This trenchant attempt at carving out a unique individualistic identity or for ethnic groups or gilds working in this modern African art convention as is the main purport in many literary discourses, is an evidence of classification ambiguity which constitutes into grappling with devising or coining a suitable terminology for this art form which will effectively categorize it as individually exclusive or holistically encompassing to accommodate all African art forms made from readymade or found materials into one typology.

3.2 Hegemonic Exclusion of the Historiography of African Found Object Appropriation

There is also the problem of hegemonic exclusion which is made manifest in the writings of western scholars on African contemporary art. In an attempt to co-opt other art traditions into western art mainstreams, these scholars have refused to investigate or make any references to the origin of found object art in Africa and have concentrated in treating this art form as a recent artistic endeavour. In doing so over the years, that is ignoring the historiography of this African art convention, western scholars have fashioned a discourse on African found object transmutation art, which problematically excludes its historic context (origin). The resultant effect is evidenced in the fact that, even African scholars and critics have adopted this paradigm and thus, problematically treats African found object appropriation as simply an extension of European modernism rather than an art form with any cultural particularities/inspirations or determined by traditional philosophies.

So long as this remains the case and the origin of this art convention in Africa hegemonically excluded from contemporary discourse, the ambiguities surrounding it will continue to impede any comprehensive understanding of its contemporary artistic existence.

3.3 Problem of Contextualization

“There has been much debate surrounding the applicability of Euro-American terminology and classification to systems of art production outside of that specific history. While I am in no way arguing that these terms are not also applicable to practices other than those in Europe and America, I am suggesting a considered application rather than a catch-all grouping of the work as either recycling or found object. The answer is to acknowledge the local while assessing the reciprocity of art practices in a global historical context” (Binder 2008, p36) Binder’s argument is on the premise that, Euro-American terminologies may not effectively reflect or apply to art traditions or styles that fall outside the specific history which generated such terminologies.

If this happens, that is, Euro-American terminologies applied to outside art traditions, it will deprive such art forms or traditions drawn into European art mainstreams, of their true cultural artistic value, identity and conceptuality. Binder’s observation exhibits another level of ambiguity surrounding found object appropriation art in Africa as equally observed in the studies surveyed earlier in this paper, which is the problem of contextualization. Most writers both African and western, have applied Euro-American terminologies to describe this genre of art and in the process contextualize it based on western art movements of the 1900s like Readymade, Found Object, Dadaism etc. This application has not proven to be exceptionally adequate because, the ideological and conceptual frameworks that gave birth to those art forms and movements in the west are not responsible for the innovation.

Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) Vol.12, 2013 47 of this modern African art form. This means that such Euro-American terminologies cannot effectively reflect and encompass this art type in Africa. Other writers have invented terminologies to treat this art type as uniquely African yet they fall into the pit fall of making references to and likening this African art convention to western terminologies/theories and modernists art movements attempting to justify their course, but in the process, do not provide enough evidence to establish why this art form is uniquely African and different from those of the west. Such multifarious terminology devising and faulty contextualization for exclusivity purposes by these scholars and artists end up excluding others in the continent who work in same style convention and beclouding their art practices in ambiguities.

This problem exists because contemporary African artists and critics as well as their western counterparts have consciously and continuously engaged in the discourse of treating found object art in Africa as a very recent artistic endeavor and have avoided any trace of history to establish the origin of this African art form. If an in-depth research into the origin and growth of found object art in Africa is conducted, then the problem of contextualization of this art genre will be addressed.

4 Conclusion

Whilst found object appropriation into art in Africa has become the core of almost all contemporary creative experimentation, artist’s inventions of numerous rubrics to describe their materials in unison with some African and western scholars, has lead to problematic and obscured submissions. Such problematic propositions as this paper illustrates, has created various levels of obscurities (muddle terminologies/classification problem, problem of western hegemonic exclusion of the historiography of this art form in Africa and the problem of contextualization) which impedes understanding of this modern art convention.

Available literature sources reviewed in this discourse which contextualizes this art type in analogous aesthetic context with European art movements are misleading, while those that treat it as traditional to Africa provide insufficient information to underpin their assertions. Conversely, it is my opinion that for clarity to be attained, an in-depth research into found object transmutation into art in Africa is exigent. The point of departure firstly for such investigation will be to examine the origin and history of found object art in Africa. If the origin is established, it will determine if this art convention is inspired by traditional culture or occasioned by western influences.

Furthermore, such study should adopt a particularized reading system to examine the practice methodologies of African found object appropriation artists, the ideologies and cultural motivations behind this art convention. If a particularized reading is conducted into these three key aspects of African found object art, both the colonial, cultural and contemporary context of waste and found object appropriation into African art will be accorded much needed clarity and the problem of contextualization addressed. If this is done, it will effectively establish it (found object and waste appropriation genre of art in the continent), as African in form, content and context as well as differentiate it from European art movements/art cultures for which it is currently erroneously likened to. Providing solutions to these ambiguities is beyond the scope of this investigation.

Rather, what I have done is simply bringing to lime light the various obscurities surrounding this modern art type and suggesting directions for further investigations. For the Silo, Clement Emeka Akpang, School of Art and Design, University of Bedfordshire, Luton, United Kingdom.

Featured image- Dadaab Refugee Camp :: Behance

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Available at: http://www.dailyrecord.com/article/20130509/GRASSROOTS/305090005/The- transformer-Mine-Hill-artist-re-imagines-found-objects-art?nclick_check=1 Accessed on: 29 th August, 2013 Young R. J. C. (2010) Explorations – What do we mean by Postcolonial Art [Video]. Edinburgh: British Council. Available Online At: http://vimeo.com/15559912 Accessed: 5th June 2013.

Top Ten Emerging Technologies Set To Change World

Dalian, People’s Republic of China, June 2024 – The World Economic Forum announces today the publication of its annual Top 10 Emerging Technologies Report featuring technologies with the greatest potential to make a positive impact in the world in the next three to five years.

“Organizations make better choices when they understand the factors shaping the future. The report identifies technologies poised to significantly influence societies and economies,” said Jeremy Jurgens, Managing Director, World Economic Forum and Head of the Centre for the Fourth Industrial Revolution. “It also spotlights technologies with immense potential for revolutionizing connectivity, addressing the urgent challenges of climate change and driving innovation across various fields.”

“Drawing on the expertise of Frontiers’ Chief Field Editors worldwide brings our shared commitment to transformative science into clear focus, bringing insight and clarity to breakthrough technology that has the ability to change societies, economies, and lives for the better,” said Frederick Fenter, Chief Executive Editor, Frontiers. “This is open science in action and we are delighted to partner with the World Economic Forum in bringing these technologies to the attention of business, science and political leaders across the globe.”

The Top 10 Emerging Technologies of 2024 are:

  1. AI for scientific discovery: While artificial intelligence (AI) has been used in research for many years, advances in deep learning, generative AI and foundation models are revolutionizing the scientific discovery process. AI will enable researchers to make unprecedented connections and advancements in understanding diseases, proposing new materials, and enhancing knowledge of the human body and mind​​.
     
  2. Privacy-enhancing technologies: Protecting personal privacy while providing new opportunities for global data sharing and collaboration, “synthetic data” is set to transform how information is handled with powerful applications in health-related research.
     
  3. Reconfigurable intelligent surfaces: These innovative surfaces turn ordinary walls and surfaces into intelligent components for wireless communication while enhancing energy efficiency in wireless networks. They hold promise for numerous applications, from smart factories to vehicular networks​​.
     
  4. High-altitude platform stations: Using aircraft, blimps and balloons, these systems can extend mobile network access to remote regions, helping bridge the digital divide for over 2.6 billion people worldwide​​. 
     
  5. Integrated sensing and communication: The advent of 6G networks facilitates simultaneous data collection (sensing) and transmission (communication). This enables environmental monitoring systems that help in smart agriculture, environmental conservation and urban planning. Integrated sensing and communication devices also promise to reduce energy and silicon consumption.
     
  6. Immersive technology for the built world: Combining computing power with virtual and augmented reality, these technologies promise rapid improvements in infrastructure and daily systems​. This technology allows designers and construction professionals to check for correspondence between physical and digital models, ensuring accuracy and safety and advancing sustainability.
     
  7. Elastocalorics: As global temperatures rise, the need for cooling solutions is set to soar. Offering higher efficiency and lower energy use, elastocalorics release and absorb heat under mechanical stress, presenting a sustainable alternative to current technologies.
     
  8. Carbon-capturing microbes: Engineered organisms convert emissions into valuable products like biofuels, providing a promising approach to mitigating climate change.
     
  9. Alternative livestock feeds: protein feeds for livestock sourced from single-cell proteins, algae and food waste could offer a sustainable solution for the agricultural industry.
     
  10. Genomics for transplants: The successful implantation of genetically engineered organs into a human marks a significant advancement in healthcare, offering hope to millions awaiting transplants.

About the Top 10 Emerging Technologies Report
The Top 10 Emerging Technologies Report, now in its 12th edition, serves as a vital source of strategic intelligence for professionals. Drawing on insights from scientists, researchers and futurists, the report identifies 10 technologies poised to significantly influence societies and economies.
In addition to promising major benefits to societies and economies, these emerging technologies must also be disruptive, attractive to investors and researchers, and expected to achieve considerable scale within five years.

This year’s edition introduced an innovative trend analysis methodology, incorporating academic literature, funding trends and patent filings, to ensure the accuracy and relevance of the selected technologies. The technologies featured in the report, produced in collaboration with Frontiers, were identified through a rigorous selection process involving over 300 world-leading academics and experts from the Forum’s Global Future Councils, the University and Research Network, the Frontiers network comprising over 2,000 chief editors worldwide from top institutions, and Mariette di Christina and Bernard Meyerson, Co-Chairs of the Emerging Technologies Steering Group.

Raketa “Avant-Garde” Wristwatch Is Art In Motion

The new version of the Avant-Garde watch, while based on the original model with its famous red triangular hand, rises to a fundamentally new design level.

It now has a multi-layered dial, a sophisticated case and more striking hands with Super-LumiNova glow, showing the time even in the darkest dark. One of the main design innovations was to replace the usual numbers with words: zero, three, six, nine. Three main avant-garde colours – red, white, and black – combined with the austere geometry of hands and fonts help emphasize the beauty and uniqueness of each moment. Even a quick glance at your wrist will remind you of this, revealing each time a new art composition on the dial.


Drawing on the idea that the Raketa Avant-Garde model is “art in motion”, you can constantly interpret and reinterpret this ever-changing artwork, filling it each time with new meanings.

The abstract geometrical shapes on the dial are set in motion by a Raketa automatic movement designed and manufactured at the Raketa Watch Factory in St. Petersburg. Looking through the transparent case back, you can appreciate the beauty of the movement and enjoy its harmonious work.

Specifications

Factory:Raketa Watch Factory (Saint-Petersburg)
Movement:
Calibre:2615
Functions:Automatic
Number of jewels:24
Testing positions:4
Average rate (s/d):-10+20
Average running time (h):40
Frequency/hour:18.000 / 2.5Hz
Bi-directional automatic windingYes
Stopper of self-winding unit activated during manual winding:Yes 
Decoration:Laser engraving
Neva wavesPrint
Case:
Material:Stainless steel
Size:39,5 mm
Front glass:Sapphire 
Back glass:Mineral 
Crown:Ruby stone ​​inside the crown
Water resistance:5 АТМ
Hands:Super-LumiNova
Strap/bracelet:
Material:Genuine leather
Width:22 mm
Sex:Unisex

FR                     

 Raketa “Avant-Garde”

L’art en mouvement


Basée sur le modèle original avec sa célèbre aiguille triangulaire rouge, la nouvelle version de la montre Raketa “Avant-Garde” monte en gamme.

Ce modèle a désormais un cadran multicouche, un boîtier plus sophistiqué ainsi que des aiguilles plus saisissantes qui, grâce au Super-LumiNova, indiquent l’heure même dans l’obscurité. Mais une des principales décisions en matière de design a été de remplacer les chiffres habituels par des lettres : zéro, trois, six, neuf. Les trois principales couleurs de l’art avant-gardiste – rouge, blanc et noir – associées à une géométrie stricte des aiguilles et des polices de caractères permettent de souligner la beauté et le caractère unique de chaque instant. Même un bref coup d’œil à votre poignet vous le rappellera, révélant chaque fois une nouvelle œuvre d’art sur le cadran de la montre.

S’inspirant de l’idée que le modèle Raketa “Avant-Garde” est de l’art en mouvement, vous pourrez réinterpréter inlassablement à votre manière la composition qui se renouvelle sans cesse sur le cadran, et lui conférer des significations nouvelles.

Le déplacement des formes géométriques abstraites sur le cadran est assuré par un mouvement automatique Raketa conçu et fabriqué à la manufacture horlogère Raketa de Saint-Pétersbourg. Le fond transparent du boîtier permet d’apprécier l’élégance du mouvement et de son fonctionnement harmonieux.

Le prix

Spécifications

Le prix est de 1.950 Euros (TVA comprise)/ $2,863 CAD. Pour le confort de nos clients, les montres sont livrées gratuitement jusqu’à leur porte par DHL.

Manufacture :Manufacture de montres Raketa (Saint-Pétersbourg)
Mouvement :
Calibre:2615
Fonctions :Automatique
Nombre de rubis :24
Positions de reglages :4
Marche moyenne (s/j) :-10+20
Réserve de marche moyenne (h) :40
Fréquence/heure :18.000 / 2.5Hz
Remontage automatique bidirectionnel :Oui 
Système de débrayage du module automatique lors du remontage manuel:Oui
Décoration :Gravage laserCôtes de NevaCouleur azur
Boitier :
Matériau :Acier inoxydable 
Diamètre :39,5 mm
Glace côté cadran :Sapphire 
Glace arrière :Minéral 
Couronne :Rubis à l’intérieur de la couronne
Etanchéité :5 АТМ
Aiguilles :Super-LumiNova
Bracelet :
Matériau :Cuir véritable
Largeur :22 mm
Sexe :Unisexe 

$7500 Phono Cartridge Supercharges Record Players

STOW, OHIO, June, 2024 — Audio-Technica today announced the introduction of its new top-of-the-line phono cartridge, the AT-ART1000X Direct Power Stereo Moving Coil Cartridge. Hand built in Tokyo, Japan, the AT-ART1000X builds upon the engineering excellence of the previous rave-reviewed AT-ART1000 with improvements in design and materials, and threaded mounting holes for easier installation.

Innovative New Design

Unlike conventional moving coil cartridges, the AT-ART1000X’s Direct Power System places its dual moving coils on top of the stylus tip rather than at the base of the cantilever, enabling the cartridge to deliver extraordinary fidelity with greater musical detail. The AT-ART1000X’s coils are now rectangular rather than round, which positions more of their surface area in the magnetic field. This provides improved reproduction of record groove modulations, along with a higher output voltage for better signal-to-noise ratio and an expanded low-frequency range.

“By placing the moving coils, which convert the motion of the stylus and cantilever into electrical signals, directly on top of the stylus, the effects of the cantilever’s length and material type are minimized,” noted Yosuke Koizumi, Audio-Technica Cartridge Engineer. “This design and the additional refinements we’ve made to the AT-ART1000X achieve a new level of sonic realism, with remarkable resolution, tonal and spatial accuracy, and dynamic impact.”

Pure Copper Coils Make A Difference

Each of the AT-ART1000X’s two moving coils is made of 20 µm diameter PCOCC (Pure Copper by Ohno Continuous Casting) wire, hand-wound in eight turns to create a 1.1 mm x 0.6 mm (0.043 in x 0.024-inch) rectangle. The coils are contained in an ultra-thin 25 µm (0.98 mil) special film and housed in an 0.5 mm (0.020-inch) gap of the powerful magnetic circuit (smaller than the previous 0.6 mm gap), enabling each coil to generate a higher 0.22 millivolt output with a 3.5-ohm coil impedance, despite having a non-magnetic core.

The AT-ART1000X employs a special line-contact stylus and solid boron cantilever for superb accuracy in tracking the record groove.

The support base for the magnetic circuit, stylus and cantilever is made from titanium. The base, and the cartridge’s aluminum housing and hard plastic cover all operate together to disperse any internal resonances that would otherwise affect sound quality. In addition, a special coating protects the magnetic circuit from corrosion. The musical result is rich, natural full-bodied reproduction of vocals and instruments, with weight, presence, and depth, presented on an expansive soundstage.

The Audio-Technica AT-ART1000X Direct Power Stereo Moving Coil Cartridge is now available at US$5,499.00/ CAD$7,574. For the Silo, Jamie Bobek.

Limited Edition Apple Watch Cases Fuse Sweden With France

Discover the exceptional collaboration between Golden Concept, the Swiss master of ultra-luxurious Apple Watch Cases, and Blvck Paris, renowned for its ‘All Black’ luxury lifestyle apparel and accessories. Together they unveil a groundbreaking line that merges Parisian chic with Swedish sophistication, redefining the realm of high-end tech fashion. The limited-edition styles are now live and range from $899usd / $1,234cad to $1299usd / $1,783cad. The collaboration features two of Golden Concept’s top-selling pieces that have been expertly modified into exclusive black editions. This unique transformation combines the signature luxury and craftsmanship of Golden Concept with the distinct, all-black aesthetic of Blvck Paris. The pieces come in two sizes; one compatible with the Apple Watch 45 mm and the other one compatible with the Apple Watch 49 mm. These reimagined pieces perfectly represent both brands’ renowned styles, offering an unparalleled luxury experience for Apple Watch enthusiasts.
“We are super excited about this collaboration with the exquisite brand of Blvck Paris. My passion has always been in the design and creation process and to embark on this together with Julian and his team has been a real treat. We hope the customers love it as much as we do,” says Puia Shamsossadati, CEO and Creative Director of Golden Concept. “At Blvck Paris, we’re excited to team up with Golden Concept. Both brands have a deep appreciation for aesthetics and luxury, making this collaboration a natural fit. Our shared vision is to create designs that are both elegant and contemporary, offering something truly special for our customers.” – Julian O’hayon, Founder & CEO of Blvck Paris.
For the Silo, Melissa Nicholls.
About Golden Concept

Golden Concept is the premier brand of luxurious tech accessories where design and style take center stage. Founded by Puia Shamsossadati in 2014, we are now celebrating a decade in the market. Our product range also includes mobile cases, accessories, and apparel with prices ranging from $1,000usd / $1,373 to $250,000usd/ $343,125cad. Golden Concept is available at over 150 premium retail locations worldwide, as well as flagship stores in Tokyo, Taipei, Singapore, Bangkok, and Shanghai, with worldwide shipping from Golden Concept.  
About Blvck
Blvck Paris is a luxury lifestyle brand founded in 2017 by French designer Julian O’hayon. Blvck is known for its ‘All Black’ clothing, accessories, and digital goods. Blvck strives to pioneer an aspirational lifestyle from visual content to merchandise, pursuing quality and design. To date, the brand opened stores worldwide in California, Tokyo, Taipei, Taichung, Hong Kong and Macau.

These American 1990s Concept Cars Were Cool AF

Flickr/Alden Jewell

Our friends at Hagerty know a thing or two about cars and really love talking about concept cars of every era, but the 1990s have a special place in their heart. Read on and tell us which one is your fav and why in the comments section below.

It was a good decade for automotive diversity, especially for enthusiasts: SUVs were emerging as a hot new segment, true, but none of them purported to be a coupe or track star. Sport sedans thrived. So did hot hatches. The Miata debuted in 1989, kicking off the roadster craze. Chrysler was, for most of that decade, just Chrysler—not some confusing multinational conglomerate with a name that no one remembers.

Even the automotive ideas that didn’t make production had pizzazz—in a few cases, as you’ll see below, perhaps a little too much pizzazz. We’ve covered ’90s concepts before, but after a spin through the treasure trove that is Alden Jewell’s catalog of car brochures on Flickr, we decided it was time to focus on the concept cars from the U. S. of A., rather than the European contingent that dominated that last list.

Step back in time with us to an era when Buick was thinking of wild sedans, Pontiac was still cool, Mercury … existed, and Dodge was high off the Viper.

1999 Buick Cielo

1999 Buick Cielo concept convertible
Flickr/Alden Jewell

If you thought Buick’s newest concept car was unorthodox, prepare yourself: The Cielo is much, much more out-of-the-box. (Despite that throwback grille texture, which is very Y-Job.) A four-door convertible, with retractable headlights and voice-operated doors? You’d never know this thing was based on a highly modified Regal GS. The top, complete with its rear glass, stowed beneath a panel at the back thanks to a cable system hidden in the two arches that frame the “roof.” Power came from a supercharged 3.8-liter V-6 making 240 horsepower.

Judging by the much tamer concept of the same name that Buick showed off the following year—and marketed as a possible limited edition—the automaker thought the convertible four-door idea had legs. In Buick’s words, the Cielo “proves just how broad and flexible and contemporary the idea of a premium family car really is.” Little did Buick know that, 15 years later, the only premium family car the people would want was an SUV …

1999 Buick Cielo concept convertible
Flickr/Alden Jewell

1997 Mercury MC4

1997 Mercury MC4 concept
Flickr/Alden Jewell

Motortrend got rather excited about the MC4 when it debuted in 1997: “The MC4 is for Mercury what the Viper Roadster was for Dodge nine years ago.” Yes, it was far more interesting to look at than the blob-like Mystique or the softly contoured Mountaineer … but no one knew that, 13 years later, Mercury would stop producing vehicles, its sales cannibalized by parent company Ford.

In 1997, however, Mercury’s star shone far brighter. The MC4 wore the edgy, minimalist look characteristic of Ford’s New Edge design language, initiated by the GT90 concept in 1990 and most familiar to folks on the 1999 Mustang. A trapezoidal grille and emphasized wheel arches are common to both that Mustang and the MC4, which actually started life as a V-8–powered ’96 Thunderbird. Unlike the T-Bird, the Mercury concept boasts four doors and a rear cargo area accessed by a pair of gullwing doors. It had style, space, and, of course, a healthy dose of tech that hadn’t quite been readied for production: video cameras instead of side- or rearview mirrors, nickel-chrome plate bedazzling the interior, and heated and cooled cupholders.

1997 Pontiac Rageous Concept

1997 Pontiac Rageous Concept
Flickr/Alden Jewell

In 1997, Pontiac had four-door cars, and it had V-8–powered cars, but it didn’t have any V-8–powered, four-door cars. The Rageous, with its 350-cubic-inch small-block and vestigial set of rear doors, aimed to fix that. It could carry four people, but the trunk was accessed via a top-hinged hatch, making this more of a hatchback than a sedan. The Rageous had a six-speed manual transmission and a heavily vented, pointy schnoz that put that of the contemporary Firehawk to shame.

1997 Pontiac Rageous concept interior
Pontiac

1994 Dodge Venom

1994 Dodge Venom concept
Flickr/Alden Jewell

If the Dodge Venom reminds you of a Neon, you’re on the right track: This 1994 concept was built on a version of the Neon’s platform. Unlike that compact, however, the Venom was rear-wheel drive. Compared to the sportiest Neon, the SRT-4, the Venom boasted an iron-block six-cylinder engine with 24, rather than 16, valves, and more power: 245 rather than 215 horses. The Venom looked like the perfect little brother to the Viper, which it honored with that side-scoop and squinty headlights atop a four-section grille. The concept even made the cover of Car and Driver‘s March 1994 issue, accompanied by the question: “Dodge’s pony car of the future?”

We wish such an affordable, spunky two-door had made production: Dodge wouldn’t have a direct competitor to the Mustang and the Camaro until the Challenger, which hit the streets 14 years later.

1994 Dodge Venom concept
Flickr/Alden Jewell

1995 Chevrolet El Camino SS Concept

1995 Chevrolet El Camino SS Concept
Flickr/Alden Jewell

It may remind GM fans of a Holden, but the El Camino SS Concept ute is a GM B-body at its core. GM’s Advanced Vehicle Development Center in North America built this ute out of a Caprice station wagon in just 16 weeks, grafting onto that people-hauler the nose of an Impala SS. Many of the steel body panels were made by hand. Power came from a 300-hp version of the LT1 V-8 found in the Corvette and the Impala SS (in different tunes) and was channeled to the rear wheels via a 4L60E Hydramatic transmission. Unfortunately, the platform that gave it birth spelled its doom: GM killed the age-old B-body at the end of 1996. RIP.

1995 Chevrolet El Camino SS Concept
Flickr/Alden Jewell

1994 Plymouth Expresso Concept

1994 Plymouth Expresso Concept
Flickr/Alden Jewell

Would you believe us if we said this was a Plymouth? Maybe not, because the Expresso is more interesting than anything Plymouth made in the ’90s … until the Prowler arrived for the 1997 model year, at least. (That retro-mobile debuted in concept form the year before the urban runabout Expresso debuted.) The Expresso was built on the shortened frame of a Neon, to be sold under both the Dodge and Plymouth brands, and used the compact’s 2.0-liter four-cylinder to power its front wheels.

The four-door bubble would never reach production, but its name stuck around in the Plymouth lineup as a trim package on the Neon, the Voyager, and the Breeze. Be prepared to explain yourself if you mention this concept in front of a coffee snob: This weirdo’s name really is EX-presso, not Espresso. The proper pronunciation would be too … well, proper. For the Silo, Grace Houghton/Hagerty.

Genius Works Of Calder On Display At Gray Gallery

For each of them Calder establishes a general fated course of movement, then abandons them to it: time, sun, heat and wind will determine each individual dance… Each of its twists and turns is an inspiration of the moment… It is a little hot-jazz tune, unique and ephemeral, like the sky, like the morning.

-Jean-Paul Sartre, 1947

[NEW YORK -April, 2024] — GRAY is pleased to announce Calder, an exhibition of sculptures by Alexander Calder from the 1950s and 60s. The decades at mid-twentieth century were especially significant for the artist, whose objective to create space and movement at ever more immersive scales is expressed by the range of work in the exhibition. From the intimate interplay of color seen at a small scale in Contrepoids jaune, c. 1953 to the monumental statement in black and white of Clouds over Mountains, 1962, one experiences the breadth of Calder’s invention in color, volume, form, gesture, and motion. 

Calder is the twelfth exhibition at GRAY to include works by the artist, whose 1966 solo show at Richard Gray Gallery was installed at the gallery’s very first location in Chicago. The exhibition opens at GRAY New York (1018 Madison Avenue) on April 18 and will be on view through June 21, 2024. 

Clouds over Mountains.

At the center of the exhibition is the large-scale sculpture Clouds over Mountains, which combines a series of angular black silhouettes with four curved white forms that hover above. Celebrated in the year it was made by leading critics such as John Canaday and Donald Judd, Clouds over Mountains is a seminal work, representing a milestone in Calder’s development of expansive standing mobiles.

The exhibition also features two important mobiles: Horizontal Red Moon Gong, 1957 and The Two Yellows, 1962. Both hanging mobiles, the works are key examples of Calder’s ability to find harmonic balance in an orchestra of counterweighted elements created in painted sheet metal, and brass in the case of the former work.

The exhibition takes place in GRAY’s New York gallery on the Upper East Side, the entrance of which is framed by a terrazzo sidewalk designed by Calder in 1970. The sidewalk, a cunning pattern of arcs and rectangles, was commissioned by three galleries then located on the block–including Calder’s long-time gallery Perls Galleries–and stretches from 1014-1018 Madison Avenue.

Calder at GRAY reactivates the physical location of the gallery. From the dynamic sculptures installed within the gallery to the geometric forms fixed in terrazzo outside, Calder’s eye for kinetic potential endures.

ABOUT ALEXANDER CALDER

Alexander Calder (b. 1898, Lawnton, Pennsylvania–d. 1976, New York City), whose illustrious career spanned much of the twentieth century, is the most acclaimed and influential sculptor of our time. Born in a family of celebrated, though more classically trained artists, Calder utilized his innovative genius to profoundly change the course of modern art. He began in the 1920s by developing a new method of sculpting: by bending and twisting wire, he essentially “drew” three-dimensional figures in space. He is renowned for the invention of the mobile, whose suspended, abstract elements move and balance in changing harmony. From the 1950s onward, Calder increasingly devoted himself to making outdoor sculpture on a grand scale from bolted steel plate. Today, these stately titans grace public plazas in cities throughout the world. 

Calder’s 1966 inaugural solo presentation at GRAY was the first of a number of exhibitions to feature the artist across the decades, including Sculpture Works on Paper, 1974; Contemporary Masters, 1987; Forty Years, 2003; Fun House, 2013; GRAY at 60, 2023; and most recently Calder, 2024.

Featured image: Alexander Calder, The Two Yellows, 1962.
© 2024 Calder Foundation, New York / Artists Rights Society (ARS), New Yor

Astrolab FLEX Moon Rover Nears South Pole Mission

Monaco, April 2024 The American company Venturi Astrolab, Inc. (Astrolab), a strategic partner of the Monegasque Venturi Group, has been awarded a NASA contract to support the development of Artemis campaign’s lunar terrain vehicle. Its rover, known as FLEX, is equipped with batteries and wheels developed by Gildo Pastor’s teams in Monaco and Switzerland.

Gildo Pastor is no stranger to specialized high-performance vehicles- here with Bugatti EB110 he drove to win the world record for fastest car on ice in 1995.

Astrolab is one of three teams to win contract awards. Astrolab’s contract is worth up to $1.9 billion usd / $2.56 billion cad. Collectively the three contract winners may be awarded task orders over the next 13 years with a total potential value of $4.6 billion usd/ $6.2 billion cad over the life of the program. The contracts allow for two additional years for the completion of services.
With this announcement, and after two decades dedicated to high-performance terrestrial electric vehicles, Venturi is taking another major step forward. Indeed, the industrial Group led by its President Gildo Pastor designs and manufactures the lunar vehicle’s wheels and batteries. The hyper-deformable wheels, developed and manufactured by the Venturi’s Swiss entity in collaboration with Astrolab, were presented at the Paris Air Show in June 2023. As for the batteries, these will be manufactured in Monaco in specifically designed facilities at the heart of the Venturi’s historic headquarters.

SpaceX’s Starship launch and landing system will deliver FLEX to the lunar surface in mid-2026.

Astrolab first revealed the full-scale working prototype for its Flexible Logistics and Exploration (FLEX) rover in March of 2022. In the years since, Astrolab, has conducted thousands of hours of laboratory and field testing that has led to numerous design improvements. The improvements to the wheels and batteries came as a result of tests Astrolab conducted together with Venturi’s engineers.

As required by NASA, FLEX can carry two suited astronauts, accommodate a robotic arm to support science exploration, perform robotic cargo logistics, and survive the extreme temperatures at the lunar South Pole, which is a technological challenge, particularly for the hyper-deformable wheels and batteries. FLEX can be operated remotely from Earth even when astronauts are not present, or it can be operated by suited astronauts.
Once FLEX arrives on the lunar surface, Astrolab expects that FLEX will become the largest and most capable rover to ever travel to the Moon. With a maximum combined rover and cargo mass of more than two tons, the FLEX rover is nearly three times the mass of its largest predecessor. This increased capacity provides significantly more opportunities to conduct scientific experiments and commercial endeavors on the lunar surface.
Through our strategic partnership with Astrolab, I am proud to see the Venturi Group’s know-how validated by NASA. After 20 years of innovation and world speed records in the field of terrestrial electric vehicles, we are now involved in an adventure that will go down in the history books: when Man returns to the Moon! When I see this rover, equipped with our wheels and batteries, operating up there I will have made my greatest dream come true“. – Gildo Pastor, President of the Venturi Group.

Astrolab is honored to have its FLEX rover selected by NASA to participate in the development of creating a Lunar Terrain Vehicle for the Artemis Campaign. Our entire team, together with our business partners, including our strategic partner Venturi Group, are committed to delivering to NASA an LTV that serves as a critical tool in the agency’s efforts to establish a long-term human presence on the Moon.” – Jaret Matthews, founder & CEO, Astrolab.

Why Costume Designers Always First To Encounter Actors

During the 12-year span of The Naked Truth, many of the world’s most alluring and enchanting actresses passed through the costume fitting room doors of costume designer Jean-Pierre Dorléac atelier.

Among them were Maude Adams, Jonelle Allen, Eve Arden, Belinda Bauer, Marisa Berenson, Joan Blondell, Ahna Capri, Kim Cattrall, Rosemary Clooney, Arielle Dombasle, Barbara Eden, Britt Eklund, Anne Francis, Eva Gabor, Erin Grey, Pamela Hensley, Olivia Hussey, Anne Jeffries, Maren Jensen, Carole Lawrence, Kay Lenz, Sondra Locke, June Lockhart, Sarah Miles, Anita Morris, Patricia Neal, Sheree North, Andrea Marcovicci, Yvette Mimieux, Donna Pescow, Eleanor Parker, Daphne Maxwell-Reid, Barbara Rush, Cybill Shepherd, Brooke Shields, Jill St. John, Jean Simmons, Laurette Spang, Camila Sparv, Stella Stevens, Ann Southern, Gloria Swanson, Liz Torres, Sela Ward, Lesley Ann Warren, Nancy Walker, Alfre Woodard and “Mae West.”

Original Battlestar Galactica Costume Design Sketch

Forget about a painted façade, towering elaborate hairdo, ostentatious and chunky borrowed jewelry, an overly pushed up décolletage and a see-through spangled gown—the true magnificence of a movie star is in her demeanor and sincerity, not in the all-too-plastic manifestation.  As has been stated many times, “beauty is only skin deep.”  With all the cosmetic surgery and filler injections available now, that is hardly true any longer.

Deep beneath the surface of what everyone sees is where the true splendor of a person lies.  It’s not in the eyeliner or false eyelashes, bright lip gloss, rouged cheeks, stiletto pumps or wearing something someone else has borrowed from a designer you never heard of … although in the ongoing Hollywood parade where everyone tries to out “glam” one another, it appears to be de rigueur.

Few of the true beauties ever subscribe to such theories.  What made each of them unique and magnificent were their skills, goodness, kindness and attitude, above all.

Life Looks Better When You Do 1985
Life Looks Better When You Do 1985

Many of the greats never wore anything but casual clothes when they went about their daily lives, sans make-up and glitz.  Few were pretentious and none thought of themselves as better than anyone else.  The ones that professed to be “the best” usually had the shortest careers in the long run.

Since costume designers are always the first to encounter an actor or actress, usually hired unseen through casting, their experiences are the bar by which those who have yet to work with these performers is measured.  Depending on the first encounter, many artists are never hired again because of their lack of professionalism and ability.

In The Naked Truth, award-winning costume designer Jean-Pierre Dorléac’s entertaining chronicle of 12 years, readers will revel in the highly explosive stories that are filled with entertaining confrontations of every nature and, heretofore, untold tales of the glitter and tinsel capital’s drastic change that began in the early ’70s.

This often funny and quite fortuitous success story is filled with splashy tales and entertaining confrontations involving glamour, politics, graft, sex, scandal, and candid accounts of the glitter and tinsel capital’s assets being sold off by the new capitalist.

About the Author
Jean-Pierre Dorléac is no stranger to the film industry.  His award-winning costume designs can be seen in Somewhere in Time, The Blue Lagoon, Heart and Souls, Battlestar Galactica, Quantum Leap, Knightrider, Airwolf, The Lot and numerous other award winning productions.

The Naked Truth
by Jean-Pierre Dorléac
Publisher:  Monad Books
ISBN: 0974551111
Book and e-book available nationwide at independent and major book stores, Amazon.com or contact marketingdirector@thesilo.ca

Audio-Technica Intros NARUKAMI Ultra-High-End Tube Headphone Amplifier & Headphones

STOW, OHIO,USA, March, 2024 — For more than 60 years, Audio-Technica has sought to expand the limits of audio technology. With the introduction of its NARUKAMI ultra-high-end audio products, Audio-Technica has taken the pursuit of analog sound reproduction to a remarkable new level of excellence.

Making their U.S. premiere at CanJam NYC 2024 (March 9 – 10 at the Marriott Marquis, New York), the NARUKAMI HPA-KG NARU Tube Headphone Amplifier and ATH-AWKG Closed-Back Dynamic Wooden Headphones are stunning, ultimate-quality works of audio art.

Narukami- the Japanese thunder god.

Taking their name from the Japanese god of thunder, NARUKAMI products are designed to ignite elemental passions, while embodying the meticulous Japanese craftsmanship that is an Audio-Technica hallmark.

Audio-Technica NARUKAMI HPA-KG NARU Tube Headphone Amplifier

The front and side panels of the HPA-KG NARU tube amplifier/preamplifier (SRP: US$108,000 / CAD$145,400) are crafted from precious kurogaki wood, Japanese black persimmon wood with striking wavy black figuring that can be found nowhere else. The metal mesh covering that protects the vacuum tubes is evocative of the pattern of the flat needles of the Ayasugi tree. The top of the HPA-KG NARU tube amplifier/preamplifier is styled to reflect the appearance of a KARESANSUI or dry landscape garden, representing water flows.

The HPA-KG NARU is as technologically refined as it is beautiful. The headphone amplifier/preamplifier employs four Takatsuki 300B power tubes, considered by connoisseurs to be among the finest of their type ever produced, and with ECC83S gold pin small-signal tubes. The HPA-KG NARU utilizes a dual-mono configuration and has a fully-balanced drive design, for richly detailed sound with remarkable depth and presence. It offers both balanced 4.4 mm and standard 1/4-inch headphone jacks.

The amplifier provides an impedance selector switch to perfectly match with the widest range of headphones. No effort was spared in the quality of the internal components, which include amorphous-core silver-wire Lundahl input and output transformers to deliver the highest level of sonic clarity. In addition to its unsurpassed capabilities as a headphone amplifier, the HPA-KG NARU serves as a preamplifier, and offers balanced and single-ended inputs and outputs. Companion AW-KG NARU headphones are included with the HPA-KG NARU amplifier.

“We spent 10 years creating the HPA-KG NARU amplifier in an arduous process, working our way through 11 prototypes before settling on a design that met our high expectations,” said R&D engineer Koichi Irii. “The lifelike sound of the HPA-KG NARU is a testament to the power of our human approach.”

The ATH-AWKG headphones (SRP: US$4,200 / CAD$5,650) are equally exceptional. Like the HPA-KG NARU, the headphones are handcrafted in Tokyo, Japan, from rare kurogaki wood. In addition to its distinctive appearance, the acoustic properties of the kurogaki housings contribute to the headphones’ extraordinary sound quality. The hand-applied lacquer finish brings out the wood’s natural beauty.

Audio-Technica NARUKAMI ATH-AWKG Closed-Back Dynamic Wooden Headphones

The ATH-AWKG features purpose-designed 53-mm drivers with Permendur magnetic circuitry. Each driver is equipped with a titanium flange and a 6N-OFC high-purity oxygen-free voice coil to ensure precise movement and optimum signal transfer. Audio-Technica’s exclusive D.A.D.S. Double Air Damping System provides smooth, accurate bass response.

The ATH-AWKG is designed for maximum long-wearing comfort, and is supplied with an additional set of ZMF Universe Hybrid earpads for a unique alternate listening experience. The headphones are equipped with Audio-Technica’s A2DC jacks and two 9.8-foot (3.0 mm) detachable cables with 4-pin balanced and standard 1/4-inch jacks. Adding to its elegance, the ATH-AWKG comes in a presentation box with kurogaki wood accents.

Audio-Technica was founded in 1962 with the mission of producing high-quality audio for everyone.

Though these latest releases are aimed at those with deep pockets and the means to buy the ultimate in design and offering, we have grown in other areas and just as importantly to design critically acclaimed headphones, turntables and microphones at all price points. We have retained the belief that great audio should not be enjoyed only by the select few, but accessible to all. Building upon our analog heritage, we work to expand the limits of audio technology, pursuing an ever-changing purity of sound that creates connections and enriches lives.

Raketa Releases Watch With Counterclockwise Movement

Raketa “Russian Code”
In the beat of the Universe

The “Russian Code”, one of Raketa’s most recognizable models with a counterclockwise movement, is finally launched as part of Raketa’s main collection.
The watch is crafted in an all-new case: a combination of sharp facets and rounded curves are enhanced by a mix of satin-brushed finishing with polished edges, while the sapphire glass has a more complex domed shape. A synthetic ruby is yet another update of the case: it glows behind Raketa factory’s logo carved on the side of the crown.


The centre of the dial displays the constellations over St. Petersburg on the morning of April 12, 1961, when Yuri Gagarin made history by becoming the first man to fly into space.
Textured polished indexes with two types of coatings (light rhodium on even and dark on odd numerals) convey an extra 3-dimensional aspect to the already multilayered dial.


Behind the elegant design lies the revolutionary concept that time should move in harmony with the natural counterclockwise movement of the planets in our Solar System. Therefore,
just like the planets around the Sun, the hands of the Raketa “Russian Code” rotate in a counterclockwise direction around the dial.
The case back reveals a beautifully decorated automatic movement entirely manufactured and assembled at the Raketa Watch Factory in Saint-Petersburg.
Are you ready to move on to the new generation of watches that tick to the beat of the Universe?


A watch that invites you to be different


To wear this watch, you will have to break free from the most fundamental rule of time-reading — the clockwise movement of time that was taught to us from ancestral times.
Indeed, early people read the time with sundials by observing the clockwise movement of the sun in the sky (from left to right) and of the corresponding shade on the dial (from right to left). When our ancestors finally invented the concept of hands (instead of shade) moving around a dial, they naturally decided to keep this clockwise movement that they observed in nature

However, there is a serious flaw in this decision: the Sun doesn’t move clockwise in the sky.
It’s an illusion — it actually doesn’t move at all. It is the Earth that moves in a counterclockwise direction around the Sun!

The sun follows a clockwise movement in the sky when it is seen from the Earth’s northern hemisphere: in the southern
hemisphere, it goes in the opposite direction. The reason why early watchmakers decided to replicate on dials the clockwise
movement as seen in the northern hemisphere is simply because this is where they always lived (and as a matter of fact where
90% of the world population has always lived).

The Raketa Watch Factory corrected this mistake by designing a watch where the movement of time follows the natural movement in the Universe.
This watch is certainly not for the faint-hearted but rather for people who are willing to stand out from the crowd and be different!


A watch that is true to Raketa’s DNA


By following the movement in the Solar System, this watch underlines the link between Raketa and the Cosmos: the brand Raketa (which means “Space Rocket” in Russian) was
created in 1961 in honour of the first manned space flight by the Soviet cosmonaut Yuri Gagarin. Since then, Raketa’s designers and engineers were always inspired by space and regularly made watches for cosmonauts and watches celebrating the Solar System.


A watch with a very special movement


The counterclockwise movement of the hands is powered by a very special Raketa automatic movement (2615R). The engineers of the Raketa Watch Factory inverted the movement of the hands by changing the construction of the 2 most important parts of the
mechanical movement: the mainspring barrel and the anchor module! This engineering feat could only be accomplished because Raketa produces in-house 100% of these parts.


Price


The watch costs 1950 Euros (VAT included)/ $2,865 cad. All Raketa watches are delivered worldwide by DHL free of charge.

Specifications
Factory: Raketa Watch Factory (Saint-Petersburg)
Movement:

Calibre: 2615 CR
Functions: Automatic with reverse direction of hands
Number of jewels: 24
Testing positions: 4
Average rate (s/d): -10+20
Average running time (h): 40
Frequency/hour: 18.000 / 2.5Hz
Bi-directional automatic winding: Yes
Stopper of self-winding unit
activated during manual winding: Yes
Decoration: Nanocoating
Neva waves Print

Case:

Material: Stainless steel
Diameter: 39,5 mm
Front glass: Sapphire
Back glass: Mineral
Crown: Synthetic ruby stone inside the crown
Water resistance: 5 ATM
Hands: Superluminova

Strap/bracelet:

Material: Genuine leather
Width: 22 mm
Sex: Unisex

Iconic Mid-Century Modern Home For Sale

Pierre Koenig was one of the most iconic architects of the mid-century modern movement, which focused on functional designs, harmony with nature, geometric lines, and the use of steel and glass. Koenig’s final project, a gorgeous geometric home in Santa Monica known as the Schwartz House, has been listed for sale at $4.55 million usd / $6.13 million cad. 

More like a work of art than a typical house, the rare historic home sits atop four structural steel columns, designed to minimize the home’s ecological impact and promote a harmonious relationship with nature. The residence’s rotated design is focused on southern exposure and capturing the sea breezes to conserve energy but also offers an attention-getting look. Stark lines, black-steel framing, galvanized wall panels, and floor-to-ceiling glass provide the classic mid-century modern aesthetic for which Koenig is so famous.

More from our friends at toptenrealestatedeals.com. Photos by Cameron Carothers.

The Met Acquires Monumental Tiffany Window

(New York, December, 2023)—The Metropolitan Museum of Art has announced the acquisition of a monumental Tiffany three-part window, Garden Landscape. The window—over ten feet wide and nearly seven feet tall—was designed by Agnes Northrop in the studios of Louis Comfort Tiffany, the attribution of which is based on a signed design drawing for the center panel that resides in The Met collection.

As part of the Museum’s American Wing 100th anniversary, the window will be installed in the Charles Engelhard Court in November 2024. The window will be dramatically framed by the columns from Laurelton Hall, Tiffany’s Long Island country estate.

The acquisition is made possible by Alan Gerry Gift; 2023 Benefit Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; funds and gifts from various donors, by exchange; Ronald S. Kane Bequest, in memory of Berry B. Tracy; Lila Acheson Wallace, several members of The Chairman’s Council, The Erving and Joyce Wolf Foundation, Martha J. Fleischman, Elizabeth J. and Paul De Rosa, Women and the Critical Eye, Mr. and Mrs. Richard Lockwood Chilton Jr., Cheryl and Blair Effron, The Felicia Fund, Julie and James Alexandre, Elizabeth and Richard Miller, Anonymous, John and Margaret Ruttenberg, and The Gerald H. Ruttenberg Foundation Gifts.

Max Hollein, The Met’s Marina Kellen French Director and CEO, said: “This stunning work of art is an extraordinary example of the transformational creativity of Agnes Northrop and Tiffany Studios. Magnificent in concept and execution and more than grand in size, it deepens the American Wing’s Tiffany holdings and will enhance the already stunning Engelhard Court with a powerful, immersive viewing experience.”

Sylvia Yount, Lawrence A. Fleischman Curator in Charge of the American Wing at The Met, said: “Northrop’s remarkable environmental work further strengthens our representation of women artists in the American Wing and allows us to share broader stories of early-20th-century culture with our visitors.”

The window was originally commissioned by Sarah Cochran, Pittsburgh businesswoman and philanthropist, for Linden Hall, the grand Tudor-Revival estate she had built in 1912 in Dawson, Pennsylvania. She personally requested the subject of the window, which represents a lush landscape and garden suggestive of her own at the estate. Placed on the stair landing of the house, the window enticed the viewer up marble steps and offered a long vista through tall, majestic pines flanking a central fountain amidst profuse flowers—pink and blue hydrangeas, poppies, and nasturtiums. The two side panels depict, on the left, foxglove and peonies, and on the right, hollyhocks, exquisitely rendered in glass. These were subjects favored by Northrop and American Impressionist painters.

Northrop was one of the most important designers in Tiffany’s employ and his preeminent woman designer. In a field dominated by men, Northrop established herself as one of the leading designers of windows, and was recognized for her work by winning a prestigious award at the Exposition Universelle in Paris in 1900. She helps shed light on the critical and often unrecognized role played by women in the art of Louis Comfort Tiffany. Northrop and Tiffany pioneered new landscape and garden subject matter for stained glass, and the window reveals Northrop’s careful observations of nature and her gift for translating it into glass.

Alice Cooney Frelinghuysen, Anthony W. and Lulu C. Wang Curator of American Decorative Arts, said: “This extraordinary evocation of a garden landscape is Northrop’s masterpiece. Made during the height of Louis Tiffany’s career, it was conceived, commissioned, and crafted by women. Featuring flowers in bloom from spring through summer, seen in the enigmatic light of approaching twilight, the window presents a luxuriant garden perennially in bloom.”

Tiffany’s opalescent glass shares a zeitgeist with American Impressionism, merging imagery with chromatic light. Northrop exploited the varied textures, lush colors, and light effects that were only possible with Tiffany’s special Favrile glass made at his furnaces in Corona, Queens, utilizing especially innovative and unusual techniques, some unique in a stained-glass window. The ingenious selection of the glass as well as the cutting of the glass into often thousands of pieces of almost impossible shapes was done by Tiffany’s skilled artisans, who were also largely women. Tiffany deemed the Linden Hall window of such note that he put it on public view in his New York showroom before shipping it to Cochran’s Pennsylvania home.
Featured image: Image: Three-part Garden Landscape window for Linden Hall, Designed by Agnes F. Northrop (1857–1953), Tiffany Studios (1902–32), New York, 1912. Leaded Favrile glass. 124 × 82 inches; 88 3/4 × 81 5/8 inches; 88 3/4 × 81 5/8 inches; center panel: 124 × 82 in. (315 × 208.3 cm); side panels: 88 3/4 × 81 5/8 in. (225.4 × 207.3 cm)

PS Audio Is Now Shipping Its Impressive Music Streamer

 – Versatile music streamer offers exceptional sound quality and easy setup –
Boulder, Colorado, September, 2023 – PS Audio is now shipping its AirLens music streamer, designed to deliver the ultimate in sound quality from streaming audio sources. The new AirLens (SRP: US $1,999.00 / CAD $2,709 ) offers high-resolution streaming via Roon and services such as TIDAL, Qobuz, Spotify, JRiver, and Audirvana, as well as from an NAS storage device or any DLNA-compatible server.

“The secret of the AirLens’ exceptional sound quality is its galvanic isolation,” noted Paul McGowan, PS Audio CEO. “Removing the physical connection between input and output stages eliminates the unwanted noise that can be introduced by USB, Ethernet or Wi-Fi. The AirLens also perfectly re-clocks the digital signal. The result is a remarkable improvement in resolution, timbral realism, and dynamics.”

The PS Audio AirLens connects to a network via Ethernet or Wi-Fi, and provides I2S and coaxial digital outputs to connect to a DAC. Typically, noise from any number of sources including a computer, long runs of Ethernet cable, EMI interference via Wi-Fi, and modems and routers all contribute to increased jitter and a loss of fidelity. PS Audio’s galvanic isolation removes this sonic degradation by eliminating the electrical connection between the input and output stages, using only air as the interface. This ensures 100 percent isolation and noise-free delivery of the digital audio signals. In addition, the signal is re-clocked at the output stage for jitter-free, pure digital audio.

Available in silver and black, the AirLens offers PCM decoding up to 352.8 kHz, and DSD to 256 (4x). Its compact size (10 by 7 by 1.5 inches) and sleek design make it easy to integrate into any audio system. Like every PS Audio product, the AirLens is manufactured using premium-quality parts and construction.

AirLens Features at a Glance:

Galvanically isolated from input to output to eliminate network and Wi-Fi noise and offer extraordinary signal purity and sound quality. Connects to a network via 10/100/1000 Ethernet or 2.4 and 5 GHz Wi-FiI2S and coaxial digital outputs. Offers PCM up to 352.8 kHz/32-bit and native DSD up to 256 (4x, up to DSD 128 via coax output)DoP (DSD over PCM) operation. Roon-ready, DLNA-ready, compatible with TIDAL Connect (via Roon), Spotify Connect, mconnect, Qobuz (via Roon and mconnect), Dropbox (via Roon), MQA, DLNA 1.5 and UPnP A/V 1.0 Digital Media Renderer. Available in silver or black10″ x 7″ x 1.5″, 4.8 lbs.

About PS Audio

Founded in 1973, PS Audio has earned a worldwide reputation for excellence in manufacturing innovative, high-value, leading-edge audio products. Located in Boulder, Colorado at the foothills of the Rocky Mountains, PS Audio’s staff of talented designers, engineers, production and support people build each product to deliver extraordinary performance and musical satisfaction. The company’s wide range of award-winning products include the all-in-one Sprout100 integrated amplifier, audio components, power regenerators and power conditioners.

This Fall -Rebecca Myers Nature Inspired Handcrafted Jewelry


JOIN ME FOR THESE UPCOMING FALL SHOWS
Fall is almost here and I’ve got a ton of great events coming up, including this weekend’s much-anticipated Long’s Park Amphitheater Art Festival in Lancaster, PA. These shows are more than just shopping experiences; they’re opportunities to connect with passionate artisans and discover one-of-a-kind pieces.  They’re also a great way to start your holiday shopping early (or grab some special pieces for yourself). Can’t make it to the shows? Swing by the Baltimore showroom in Cross Keys or shop all of my new pieces online at rebeccamyersdesign.com. See the full list of events on my events page… https://www.rebeccamyersdesign.com/events
Looking forward to seeing everyone! xo, Rebecca


SAINT LOUIS ART FAIR
September 8 – 10 | Downtown Clayton | St. Louis, MO This year we will celebrate our 30-year history of the art fair — still attracting high-quality artists and celebrating the diversity of the community through a celebration of the Arts. The Saint Louis Art Fair (SLAF) produced by Cultural Festivals has been working diligently to Reconnect Through Art with the health and safety of artists, volunteers, and the public as its top priority. TICKETS & INFO
CRAFT NEW YORK September 30 – October 1 | Damrosch Park at Lincoln Center | NYCNYC’s most unique curated shopping event! Find wearable art like clothing, jewelry and handbags; home decor such as functional and sculptural works in ceramics, glass, metal, wood and mixed media; as well as fine art painting, printmaking and photography; and more. All handmade and all unique! Also, make sure to visit the expanded gourmet foods and specialties boutique including distillery and winery tastings. TICKETS & INFO
THE WALTERS ART GALA: AN EVENING AT THE WALTERS October 21 | 6pm | The Walters Art Gallery | Baltimore, MD My favorite party is coming up! The BEST night out in Baltimore is also a great way to support one of our most wonderful institutions. Get your tickets for the Walters Gala! Don’t miss it! PURCHASE YOUR TICKETS

New Tech Japan Debut Earphone Audio Game Changer

Keep your conversations and audio completely private with newly debuted technology featured in the nwm MBE001 True Wireless On-Ear Speakers ! In addition to proffering stellar audio quality and comfort, they also notably prioritize privacy via advanced “Personalized Sound Zone” tech that eliminates sound leakage while letting ambient sounds in, keeping conversations and other audio private (even if someone is sitting right next to you) while also maintaining situational awareness and ability to engage with others. The North Star Boys group (55+ million followers strong) pictured/quoted below are praising this comfortable, non-invasive on-ear speaker that can be used in public spaces without disturbing the wearer’s surroundings—or having prying ears listening in no matter how close the other person is.

Japanese Tech Behemoth ‘NTT’ Launches Next Generation of Open-Ear Wireless Earphones Only the Wearer Can Hear

Prioritizing Privacy: NTT subsidiary, NTT sonority, introduces ground-breaking, true wireless on-ear speakers featuring proprietary Personalized Sound Zone technology that eliminates sound leakage while letting ambient sounds in for utmost situational awareness;

Founders of the leading Asian-American creator group and pop band the North Star Boys, 55 million+ social media followers strong, praise the nwm-branded MBE001 wireless headphones—the latest innovation in the company’s ambitious R&D pipeline—which keep the listener’s audio private while enabling human connectivity, conversation and engagement fostering seamless sound for a seamless world


518WpTXzHhL._AC_SX679_.jpg

With the global earphone and headphone market’s size forecasted to grow to USD $126 billion usd / $170 billion cad by as soon as 2030, numerous factors are propelling the category to these extreme fiscal heights. This includes rising customer expectations for increased audio quality coupled with the expansion of the music industry, mobile technologies and Internet penetration at large. Earphones have also become a ubiquitous accessory for the numerous ways the device enhances daily lives. From 2-way communication, music, entertainment, fitness and gaming immersion to more utilitarian needs like concentration, noise cancellation and hearing protection, earphones enrich the human experience in so many ways. As this sector burgeons, one visionary company realized the still untapped potential of this product category and is single-handedly taking earphone technology to exciting new heights: NTT sonority—Japan’s audio brand that is a subsidiary of NTT, which is a leading global technology company.



This tech behemoth has significantly raised the bar and is permanently disrupting the market with the launch of its ground-breaking nwm MBE001 True Wireless On-Ear Speakers, now available at www.PersonalizedSoundZone.com, featuring its proprietary “Personalized Sound Zone” (PSZ) Technology. Revolutionizing the way we experience audio, the PSZ innovation allows users to enjoy audio with utmost privacy, situational awareness, sound quality and comfort. The technology minimizes audio leakage by containing sound to the ear, enabling users to use this on-ear speaker in public spaces without worrying about disturbing their surroundings—or having prying ears listening in … even if they are sitting or standing right next to you. This audio technology advancement is at the product’s core, providing users with the ultimate private acoustic space and balanced sound experience allowing them to hear their world differently than ever before.

Couple.jpg

“It is important for users to remain connected to their environment while indulging in their favorite audio content, and this additional safety element is among the key features setting nwm MBE001 apart from other earphones on the market—both wireless and wired,” said Hiroshi Sakai, NTT sonority Managing Director and CEO. “The technology enables users to enjoy their own personal sound zone without disturbing those around them or allowing them to accidentally or intentionally listen in. With the nwm MBE001 open earphones, audio is confined to within a few centimeters of the ear, ensuring music, audiobooks, videos, conversations and other sounds remain entirely private. These earphones concurrently allow users to stay aware of what’s around them, but without compromising audio quality, comfort or discretion. The wearer will hear more and miss less.”

So noteworthy the innovation, the music industry is quickly taking notice. This as the wildly popular Asian-American creator group and pop band The North Star Boys founded by brothers Sebastian Moy and Oliver Moy, which boasts over 55 million followers combined on social media platforms and a reported 20 million monthly views on their syndicated Snapchat shows, is praising the earphone advancement.



“I’ve always wished for headphones that don’t go directly inside my ear but also have perfect sound that cancels out noise,” Sebastian said. “I’m so happy to use NTT sonority’s nwm wireless headphones! They’re super comfortable and the special technology prevents other people from listening in, even if they’re sitting right next to me. Favorite headphones!”

Oliver Moy is also spreading the love for NTT sonority’s newest earphones, sharing, “Been using the nwm wireless on ear speakers for a couple of days now and, as a music producer, these on-ear speakers bring great quality with great practicality for everyday use. Cannot leave to the gym without them, as they are very comfortable and do not slip off my ear like other ear speakers… and they feel weightless while sitting on my ears.”

Trio.jpg

User Experience is Everything

The nwm MBE001 on-ear speakers are thoughtfully designed to address numerous factors that directly impact user satisfaction. These key benefits include:

  • 51Gt077ygXL._AC_SX679_.jpgReduced audio escape for utmost privacy. 
  • These earphones feature “PSZ Technology” creating a Personalized Sound Zone, which reduces audio leakage and ensures a private audio experience … whether that be a conversation, music, video or any other sound source. The PSZ technology resolves the long-lamented sound leakage problem, finally allowing users to listen to music, audiobooks, phone calls and attend online meetings in cafes and other public spaces with peace of mind.
  • Balanced listening comfort. In addition, the nwm MBE001 open-ear speakers offer balanced listening comfort by not blocking the ears, allowing users to hear ambient sounds and even their own voice clearly. The 12mm diameter drivers provide a natural listening comfort, similar to listening to background music, allowing a unique and equitable listening experience both through and outside of the earphones. Perfect for those who frequently use online communication, the open ears make it easy to speak without blocking the sound of your own voice.
  • Situational awareness and interaction. Because the device is not inserted inside the ear canal and does not block the ears, users can engage in natural conversations with people around them … even while listening to music or any other audio. They no longer have to remove the device when paying at the cash register, asking a quick question at the gym or responding to co-workers. Most importantly, users can remain alert to the sounds of approaching cars and other possible hazards—fostering potentially life-saving situational awareness.
  • Superior sound quality. Advanced sound technology allows users to experience crystal-clear audio. These on-ear speakers deliver rich, balanced sound across all genres, elevating the music listening experience to new heights.
  • Seamless wireless connectivity: The latest Bluetooth technology provides hassle-free pairing and a reliable, uninterrupted wireless connection that allows users to move freely, without any limitations.
  • Customizable sound via a dedicated app. nwm Connect (for iOS and Android only) is a dedicated app available as a free download. The EQ feature allows you to select your favorite preset and enjoy the sound that best fits to your environment.
  • Ultra-comfort for extended wear. The earphones are also ultra-light, weighing only 9.5g, ensuring those using the nwm MBE001 wireless on-ear speakers can avoid fatigue from extended use. Its ultra-lightweight, ergonomic design, coupled with the stability of the ear-hook, reduces stress on the ear amid prolonged wear.
  • Extended battery life: The built-in microphone and zero need to continually recharge throughout the work day or night makes these earphones ideal for remote work and online meetings. Users can enjoy conversations, their favorite music and other audio all day long. The nwm MBE001 wireless on-ear speakers boast an impressive battery life, ensuring the earphones are always ready whenever needed. Moreover, the included charging case and cable provides convenient on-the-go charging.
  • Button controls: Effortlessly control your audio experience with a simple physical button built into the wearable device. With a simple push, you can play.

“We are committed to pushing the boundaries of audio technology and delivering innovative products that enhance our customers’ audio experiences and lifestyle overall,” Sakai continued. “Our relentless pursuit of balance between sound pressure, quality, ergonomics and aesthetics has led to the disruptive, cutting-edge design of our new nwm MBE001 wireless on-ear speakers. They are not just about sound, but rather connection as they offer a new way of engaging with the world … complete with your very own Personalized Sound Zone. With them, you’re in tune with your world by being in control of your sound.”

Revolutionary Technology


NTT sonority’s journey taking the nwm MBE001 wireless on-ear speakers from concept to product launch was marked by countless trials and adjustments to balance sound pressure and quality while minimizing sound leakage. The company’s PSZ technology is a key innovation that applies the principle of noise cancellation by producing an inverted soundwave to neutralize sound. Unlike conventional audio devices that house the speaker unit in a box to prevent interference, PSZ technology has redefined this norm by confining sound within a 360-degree radius around the ear to minimize sound leakage. This non-directional speaker design offers stress-free, continuous listening without the pressure or vibrations associated with bone conduction earphones.

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To incorporate PSZ technology into the nwm MBE001 on-ear speakers , the company had to reduce the size of the speaker units to their smallest possible dimensions. The challenge was to maintain sound quality while achieving sound pressure in the ear. The unique approach of using the inverted waveform from the back of the speaker to cancel out sound has also led NTT sonority to undertake R&D on both aircraft seats that provide a more private acoustic space as well as automobile seats that allow different audio playback for each user—all to improve comfort in ground and air transport vehicles WITHOUT using earphones or headphones. The ability to enjoy audio comfortably in a private space will make long journeys more enjoyable and comfortable while also enabling seamless communication with those around you.

For the Silo, Anne Gold.


About nwm


NTT sonority’s New Wave Maker (nwm) audio brand was created in November 2022 with the goal of creating an optimal audio experience. The company aims to expand its audio solutions to address future ways of working and living by creating not just a sense of immersion, but the comfort of being connected. Learn more at us.nwm.global . 

About NTT sonority


NTT sonority is an audio engineering-focused subsidiary of NTT, which is a leading global technology company providing services in over 190 countries and regions to consumers and business as a mobile operator, infrastructure, networks, applications and consulting provider. The company’s mission is to foster connection through sound, by letting people choose what they want to hear, and what they want others to hear. The company’s core R&D in sound physics and related hardware powers ground-breaking consumer product lines as well as B2B use cases with wide societal impact. Learn more at https://ntt-sonority.com/en

Source:

https://www.globenewswire.com/en/news-release/2023/01/19/2592042/0/en/Global-Earphones-and-Headphones-Market-Size-To-Grow-USD-126-Billion-By-2030-CAGR-of-20.html#:~:text=New%20York%2C%20United%20States%20%2C%20Jan,20%25%20during%20the%20forecast%20period

Photos copyright nwm / NTT sonority

Today Is National Watch Day- Let’s Look At The Watches Of James Bond 007

Today is June 19th and in the United States, it is also National Watch Day- a celebration created by Nordstrom, an American luxury department store chain. Hey Canada, can we celebrate too?

We think making this observation world wide is a worthy endeavor, without watches society would not have been able to develop in the same way that it has. Imagine trying to coordinate an activity with someone else based solely on the height of the Sun. Good luck with that or what if the famous watch wearing James Bond was forced to use a wrist mounted sundial? Ick.

What Does Watch Type and Style Say?

You can tell a lot about a man by the watch he wears….take a look at this info graphic courtesy of our friends at watches2u that catalogs the changes in 007 James Bond’s watch design and styling throughout the film series. Which one is your favorite?

A History Of James Bond Watches WEB

A world first: The City of Lahti pilots a deposit system to encourage recycling of textile waste

Residents of the City of Lahti in Southern Finland live close to nature. More than one in two live less than 300 metres from a quiet area. In Lahti, an area is defined as quiet when there are mainly natural sounds and no traffic noise, for example. Quiet places in Lahti include the extensive outdoor areas of Salpausselkä ridge system, many parks, and protected natural areas. www.lahti.fi

Inspired by the country’s highly effective deposit system for beverage containers, the Finnish city is piloting an incentive-based system for recycling textiles. Finns recycle up to 97% of aluminum cans, will a small reward inspire them to sort and recycle their old fabrics?

The average European throws away 11kg of textiles every year*. Around the world, a truckload of textiles is landfilled or incinerated every single second. Separate collection of textile waste is set to be rolled out across the EU by 2025, but to change our bad textile habits, a lot of work is needed. Lahti’s textile deposit hopes to inspire a change in consumer behavior.

“As a pioneer in urban environmentalism, Lahti has set a goal of being a waste free city by 2050. The textile deposit is a great example of an everyday innovation that directly aims to minimize the amount of waste and showcases the potential of discarded textiles as a raw material for industries and design,” says Communications Director Veera Hämäläinen from the City of Lahti.

New Waste Act promotes circularity

Finland took a step towards a circular economy for textiles at the beginning of the year, as a new law requiring cities and municipalities to make separate collection bins for textile waste available to all Finns came into effect. The separate collection of textile waste makes it possible for discarded clothes and household textiles to be reused as recycled fiber.

“Our future depends on a circular economy, but it can’t just be the consumers’ responsibility to take care of recycling. With this pilot we want to ask what countries, cities and companies can do to help make recycling easier and more attractive to people. Deposits have worked well before, maybe there could be one for textiles in the future”, says Kimmo Rinne, Development Manager at Salpakierto, a municipal company that handles waste management in the Lahti Region.

The textile Deposit asks if an incentive can inspire locals to recycle

The pilot on a textile deposit aims to investigate if a citywide reward system can incentivise locals to recycle their textiles. At the pilot stage, Lahti residents can exchange a bagful of textiles for vouchers for local services, such as cafes or passes to a local pool. Initially, the pilot will run during the first weeks of June. Cities have a major role in making recycling easy for people. As a leading environmental city, Lahti wants to be in the forefront of leading the conversation on how cities can lead the change into a more sustainable lifestyle.

The City of Lahti is also launching a national design competition that aims to find new and creative uses for discarded textiles. The competition runs from now to 13 August 2023. With the design competition Lahti wants to promote innovation and entrepreneurship in the field of circular economy. The competition is organized in collaboration with the Sustainable Lahti Foundation, LAB University of Applied Sciences and Salpakierto.

The textiles collected in Lahti will be processed into recycled fiber at Finland’s largest textile processing facility in Paimio. In the spirit of circular economy, the recovered fiber can be used in the production of new products, such as thread, insulation materials and acoustic panels. For the Silo, Veera Hämäläinen.

*EU Commission: https://ec.europa.eu/commission/presscorner/detail/en/QANDA_22_2015

Lahti 
Lahti tackles future challenges together with residents, companies and the educational sector. A sustainable future calls for action, which is why Lahti will achieve carbon neutrality by 2025. As the leading environmental city in Finland, we offer our citizens everyday life that is both smooth and sustainable.

Was Fabled Pontiac Aztek Design Influenced by Bladerunner?

Upon it’s release in 1982 Bladerunner polarized film critics and quickly divided the viewing audience. Critics had no cinematic basis on which to make a comparison and watchers were unsure what to make of it. There were a few forward thinkers who sensed its bold departure from the ordinary and they mainly focused on the mindblowing design of its imagined world. We can say the same about the Pontiac Aztek upon it’s release in 2001.

Image result for bladerunner city street

More than an exercise in design.

Bladerunner crammed a lot into a relatively short running time: a detective story (which really should used the phrase “bounty hunter adventure”), a love story (how could Deckard NOT fall for the gorgeous Rachel?) , a revenge story (Batty’s answer to the inevitable end of his four year life span was to murder his creator)and a number of subplots that are beyond the scope of this short article. As the years passed, re-cuts and re-releases proved the critics to be wrong. Bladerunner is Shakespearean.

Before becoming a leading Futurist and designer for Hollywood, Syd Mead was an automobile concept artist.
Top: A taxi cab design by Mead for Bladerunner. Bottom: The 2001 Aztek GT in Aztek Yellow.

Aztek

When it was released, The 2001 Aztek GT didn’t win over automobile reviewers or the car-shopping public but in the last half decade perspectives have changed, online fan pages have sprung up and buying demand is on the rise.

2021 Chevrolet Trailblazer