DOCSLIB.ORG

The Influence of Modern Art the INFLUENCE of MODERN ART

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Influence of Modern Art the INFLUENCE of MODERN ART ANM102 | HISTORY OF GRAPHIC AND WEB DESIGN CHAPTER 13 The Influence of Modern Art THE INFLUENCE OF MODERN ART • The first two decades of the 20th century were time of social, cultural and political upheaval. World War I was fought between 1914 and 1918 bringing about tremendous change in the traditions and institutions of Western civilization. • The visual arts and design exploded with creative revolutions that questioned long-held values, as well as greatly altering the role of art and design in society. Ideas about color, form, space, subject all focused around social protest and deeply personal emotional states. • Cubism, Dada and surrealism, De Stijl, constructivism and expressionism all directly influenced the language and look of visual communication in graphic design. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 2 CUBISM Analytical cubism • developed by Pablo Picasso and Georges Braque, it involves an analysis of the planes of its subject matter, often from several points of view, and using these perceptions to construct a painting composed of rhythmic geometric planes • Analytical cubism’s compelling fascination grows from the unresolved tension of the sensual and intellectual appeal of the pictorial structure in conflict with the challenge of interpreting the subject matter. Synthetic cubism • Drawing on past observations, the cubists invented forms that were signs, rather than representations, of their subject matter • The essence of an object and its basic characteristics, rather than its outward appearance, were depicted William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 3 CUBISM CUBISM • Geometric planes in African sculpture, masks and fabrics greatly influenced the Cubist artists. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 4 CUBISM Pablo Picasso • most notable of the Cubist artists • figures abstracted into geometric planes and classical norms for the human face are distorted • perspective become ambiguous with several viewpoints seen simultaneously William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 5 CUBISM Georges Braque • a close associate of Picasso, Braque contributed much to the Cubist movment. • introduced paper collage into the artists’ work, creating texture and adding text that enhanced the visual form and reinforced the meaning or message of the artwork. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 6 CUBISM Fernand Léger • took the geometric design aesthetic of the cubists a step farther by abstracting forms even more and assembling compositions of brightly colored geometric planes William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 7 FUTURISM Futurism • a revolutionary movement in which all the arts were to test their ideas and forms against the new realities of scientific and industrial society • Its manifesto voiced enthusiasm for war, the machine age, speed, and modern life. Manifesto • a public declaration of principles, policies, or intentions, such as that made by the Futurists. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 8 FUTURISM Filippo Mannetti • Futurism launched by the Italian poet, Filippo Mannetti • produced explosive typography that defied correct syntax and grammar • harmony was rejected as a design quality and the two dominant conditions of 20th century life, noise and speed were expressed in futurist poetry William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 9 FUTURISM Carlo Carrà • “Parole in libertà” (free word composition), 1914 • futurist poets believed that the use of different sizes, weights, and styles of type allowed them to weld painting and poetry, because the intrinsic beauty of letterforms, manipulated creatively, transformed the printed page into a work of visual art William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 10 FUTURISM Fernand Léger • La Fin du Monde…, 1919 • whirlwind tour of the re-creation of the earth after the fall of man is illustrated by a pinwheel of lettering spelling “accelerated slow motion cinema.” William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 11 FUTURISM Fortunato Depero • New Futurist Theater Company poster, 1924 • futurist artist who applied the movement’s philosophy to graphic design • designed New Futurist Theater Company poster, 1924 • flat planes of vibrant color, diagonal composition, and angular repetitive forms produce kinetic energy. • Depero’s style was a major influence to the constructivist William Pickering, title page for the movement Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 12 DADA Dada • Reacting against the carnage of World War I, the Dada movement claimed to be anti-art and had a strong negative and destructive element • Dada writers and artists were concerned with shock, protest, and nonsense • Chance placement and absurd titles characterized their graphic work. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 13 DADA DADA • claimed to be anti- art and had a strong negative and destructive element • artists were concerned with shock, protest, and oddly, basic nonsense • rejected all tradition seeking complete freedom of expression. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 14 DADA Hugo Ball • poet who wrote Karawane, a Dada poem in 1917 • sound and sight poems such as this expressed the Dadaist desire to replace man’s logical nonsense with an illogical nonsense— creating sound poetry, nonsense poetry, and chance poetry. ‣ ‘What is Dada’? … Nothing? Everything?’— Hugo Ball ‣ http://www.augustana.ualberta.ca/ William Pickering, title page for the files/group/612/14%20- Book of Common Prayer, 1844. DADA222.htm CHAPTER 13: THE INFLUENCE OF MODERN ART 15 DADA John Heartfield • German designer adopted this English name as a protest against German militarism • founding member of the German Dadaist movement • used harsh photomontages to create posters with the Nazi party as his target • he fled to London after discovering he was on a secret list of Nazi enemies William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 16 DADA John Heartfield • covers for AIZ, a German news magazine, from 1921-1933 William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 17 DADA Man Ray • American artist who is most noted for his avant-garde photography • Rayographs camera-less prints, on which he frequently made his exposures with moving beams of light and combined experimental techniques such as solarization with the basic technique of placing objects on the photographic paper. ‣ "When I saw I was under attack from all sides, I knew I was on the right track." — Man Ray ‣ http://photossu.blogspot.com/ William Pickering, title page for the -Man Ray Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 18 DADA Man Ray • The Gift, 1919 • contradiction presented by the "smoothing" function of an iron and the denial of that function represented by the nails. Cognitive dissonance was always a favorite Dadaist and Surrealist theme William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 19 DADA Man Ray • was an admirer of the Ingres' paintings and made a series of photographs, inspired by his languorous nudes • As a visual joke/pun he painted on the f-holes of a stringed instrument and named this, "Le Violon d'Ingres" William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 20 SURREALISM Surrealism • Arising in Paris in 1924, searching for the “more real than real world behind the real”— the world of intuition, dreams, and the unconscious realm explored by Sigmund Freud • Poet André Breton, founder of surrealism, imbued the word with all the magic of dreams, the spirit of rebellion, and the mysteries of the subconscious in his 1924 Manifesto du Surrealisme: “Surrealism, noun, masc., pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought. • Thought dictated in the absence of all control exerted by reason, all aesthetic or moral preoccupations.” William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 21 SURREALISM Salvadore Dali • Spanish painter who is most associated with the surrealist movement. • Influenced by the Renaissance masters, he was a skilled draftsman and painter. • This painting, The Persistence of Memory is Dali’s interpretation of Einstein’s theory that time is relative. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 22 SURREALISM Salvadore Dali • the style uses visual images of the subconscious or dreams without any attempt at literal comprehension. • Soft Construction With Boiled Beans by Salvador Dali depicts the devastation of war and how it can be both self-fulfilling as well as destructive. William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 23 SURREALISM Giorgio de Chirico • Italian artist who painted stark and empty landscapes of the Italian Renaissance palaces • depicted vacant buildings, dramatic, harsh shadows, deep perspective and a feeling of melancholy or sadness William Pickering, title page for the Book of Common Prayer, 1844. CHAPTER 13: THE INFLUENCE OF MODERN ART 24 SURREALISM Max Ernst • German artist who had a major impact on the use of photography and illustration in his art.
Load more

Recommended publications
  • Work in and Beyond the Second Machine Age: the Politics of Production and Digital Technologies
    This is a repository copy of Work in and beyond the Second Machine Age: the politics of production and digital technologies. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/97294/ Version: Accepted Version Article: Spencer, D (2017) Work in and beyond the Second Machine Age: the politics of production and digital technologies. Work, Employment and Society, 31 (1). pp. 142-152. ISSN 0950-0170 https://doi.org/10.1177/0950017016645716 (c) 2016, The Author. This is an author produced version of a paper published in Work, Employment and Society. Uploaded in accordance with the publisher's self-archiving policy. Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Work in and beyond the Second Machine Age: the politics of production and digital technologies David Spencer University of Leeds Forthcoming in Work, Employment, and Society Abstract Erik Brynjolfsson and Andrew McAfee, in their widely read and politically impactful book, The Second Machine Age (2014), highlight the costs and benefits of digital technologies for the volume and quality of work and identify reforms designed to ensure that digital technologies deliver net advantages to workers and society more generally.
    [Show full text]
  • Machine-Age Exposition, Catalogue
    MAY MAY NEW YORK 119 WEST 57th _ t Special Design No. 257 HE hi^h quality and finish of Cast Ferro- Tcraft, as compared with other metals, and the ability of our craftsmen to execute the most exacting requirements, have won wide The Villa recognition in the Architectural field. Let us submit details of the Ferrocraft Line UTTLE V BAILEY allmetal R;« diator Cabinets are the ultimate in for all heating and ventilating purposes; or T design, construction and finish. Selec­ send us specifications of your special needs. tion of models in finishes to match in­ terior. Full particulars upon request. •i J TUTTLE & BAILEY MFG. CO. Makers of Registers and Grilles for Eighty-one Tears 441 LEXINGTON AVENUE NEW YORK CITY THE PROVINCETOWN PLAYHOUSE W 25 (< THE PLAYWRIGHTS THEATRE 1 I 72 U ADVENTUROUS" TO J I- CO "COURAGEOUS II 00 "EXPERIM ENTAL n H o HERE—Eugene O'Neill's "Emperor Jones" and "Hairy Ape" were first produced o u HERE—Hasenclever's "Beyond" and Strindberg's "Dream Play" were given for first time in America HERE—"Fashion" and "Patience" were revived > HERE—"In Abraham's Bosom" by Paul Green, won the Pulitzer Prize C w 2^ro SUBSCRIPTION SEASON 1927-28 FIVE PLAYS $11.00 o CATALOGUE ORGANIZED BY LITTLE REVIEW, NEW YORK JANE HEAP SOCIETE DES URBANISTES. BRUS­ SELS LOUIS VAN DER SWAELMEN M. GASPARD » U. S. S. R. SOCIETY OF CULTURAL RELATIONS WITH FOREIGN COUN­ TRIES AMERICA BRANCH KUNSTGEWERBESCHULE, VIENNA PROF. JOSEF FRANK CZLONKOWIE GROUP "PRAESENG", WARSAW SZYMON SYRKUS ARCHITECTS D. P. L. G., PARIS ANDRE LURCAT.
    [Show full text]
  • Introduction: De-Industrialization and Globalization
    IRSH 47 (2002), pp. 3–33 DOI: 10.1017/S0020859002000767 # 2002 Internationaal Instituut voor Sociale Geschiedenis Introduction: De-industrialization and Globalization Christopher H. Johnson THE RELATION BETWEEN DE-INDUSTRIALIZATION AND GLOBALIZATION The problem of de-industrialization has undergone a decisive transmuta- tion in the past two decades, roughly from the moment when it was linked to proto-industrialization at the Budapest Economic History Conference in 1981.1 Also interacting with the remarkable efforts of Immanuel Wallerstein and his colleagues who dated the formation of a ‘‘world economic system’’ from the expansion of European conquest and trade in the fifteenth and sixteenth centuries, its place in historical and sociological analysis rapidly transcended local concerns (such as the warmly received 1982 study by Bluestone and Harrison of the American ‘‘rust belt’’) and has become an element in the overall problematique of global capitalism.2 Only very recently, however, have the necessary studies (and hence theoretical perspectives) formed an appropriate critical mass to integrate the concept of de-industrialization fully into the long-term history of economic globalism. We are coming to understand that the phenomenon at the tip of the tongue of every head of state and the source of massive (and lethal) protest that came to be termed ‘‘globalization’’ in ordinary 1. See Franklin Mendels, ‘‘General Report, Eighth International Economic History Congress, Section A.2: Proto-industrialization: Theory and Reality’’, Budapest, August 1982, and attached papers (photocopied reproductions). An excellent collection of articles selected from these papers appeared as Carlo Poni (ed.) Protoindustria, a special issue of Quaderni strorici, 52 (1983).
    [Show full text]
  • Second Machine Age Or Fifth Technological Revolution? Different
    Second Machine Age or Fifth Technological Revolution? Different interpretations lead to different recommendations – Reflections on Erik Brynjolfsson and Andrew McAfee’s book The Second Machine Age (2014). Part 1 Introduction: the pitfalls of historical periodization Carlota Perez January 2017 Blog post: http://beyondthetechrevolution.com/blog/second-machine-age-or-fifth-technological- revolution/ This is the first instalment in a series of posts (and a Working Paper in progress) that reflect on aspects of Erik Brynjolfsson and Andrew McAfee’s influential book, The Second Machine Age (2014), in order to examine how different historical understandings of technological revolutions can influence policy recommendations in the present. Over the next few weeks, we will discuss the various criteria used for identifying a technological revolution, the nature of the current moment, and the different implications that stem from taking either the ‘machine ages’ or my ‘great surges’ point of view. We will look at what we see as the virtues and limits of Brynjolfsson and McAfee’s policy proposals, and why implementing policies appropriate to the stage of development of any technological revolution have been crucial to unleashing ‘Golden Ages’ in the past. 1 Introduction: the pitfalls of historical periodization Information technology has been such an obvious disrupter and game changer across our societies and economies that the past few years have seen a great revival of the notion of ‘technological revolutions’. Preparing for the next industrial revolution was the theme of the World Economic Forum at Davos in 2016; the European Union (EU) has strategies in place to cope with the changes that the current ‘revolution’ is bringing.
    [Show full text]
  • Cubism Futurism Art Deco
    20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905.
    [Show full text]
  • Second Machine Age Or Fifth Technological Revolution? (Part 1)
    Second machine age or fifth technological revolution? (Part 1) medium.com/iipp-blog/second-machine-age-or-fifth-technological-revolution-part-1-ed66b81a9352 UCL IIPP September 11, 2018 Carlota Perez This is the first instalment in a series of posts that reflect on aspects of Erik Brynjolfsson and Andrew McAfee’s influential book, The Second Machine Age, in order to examine how different historical understandings of technological revolutions can influence policy recommendations in the present. Introduction: the pitfalls of historical periodisation Information technology has been such an obvious disrupter and game changer across our societies and economies that the past few years have seen a great revival of the notion of ‘technological revolutions’. Preparing for the next industrial revolution was the theme of the World Economic Forum at Davos in 2016; the European Union (EU) has strategies in place to cope with the changes that the current ‘revolution’ is bringing. Yet between these two institutions, as amongst academics, there is disagreement: on the number of revolutions; on when one has ended and another begun; on what have been the drivers and the immediate and long-term consequences. The most common classification identifies three revolutions to date, often focusing on the dominant technologies-as-inventions: the steam engine that powered the nineteenth century; electricity and the automobile in the twentieth; and ICT at present. More multi-faceted analyses recognise ‘technological revolutions’, as I do, not as dependent on single entities or energy sources but as interconnected clusters of new and dynamic inputs, processes, products and industries. Such analyses also include organisational and institutional innovation, in an attempt to understand how and by what means the new technologies diffuse and profoundly change our economies and societies.
    [Show full text]
  • Commercial Standards Monthly, S
    COMMERCIALfAAR 2 7 1933 STANDARDS vV^ , ,v\ V' ^MONTHLY A Review of Progress in Commercial Standardisation and Simplification I’hotoKraphiMl l>y Army Air Corps AIRPLANE VIEW OF BUREAU OF STANDARDS (LOOKING SOUTH) ISSUED BY THE BUREAU OF STANDARDS OF THE UNITED STATES DEPARTMENT OF COMMERCE, WASHINGTON, D. C., U. S. A. Vol. 9, No. 9 March, 1933 For sale by the Superinten Jcnt of Documents, W'ashington, D, C. $1.00 annually ($1.60 lorcign i ; single copy, 1 0 cents U. S. DEPARTMENT OF COMMERCE BUREAU OF STANDARDS ROY D. CHAPIN, Secretary LYMAN J. BRIGGS, Acting Director COMMERCIAL STANDARDS MONTHLY, S. F. Tillman, Editor The Commercial Standardization Group A. S. McAllister, Assistant Director DIVISION OF SIMPLIFIED PRACTICE DIVISION OF SPECIFICATIONS Edwin W. Ely A. S. 'McAllister The division of simplified pradlice cooperates with indus- The duties of the division of specifications are to promote trial and commercial groups to reduce wa^te, usually through and facilitate the use and unification of specifications. In eliminating unnecessary variety of product, method, or doing so it carries on activities involving cooperation with practice. Its fundfion is to bring together all parties inter- technical societies; trade associations; Federal, State, and ested in a projedt of this charadter, and to coordinate their municipal Government specifications making and using work in developing a simplified pradtice recommendation. agencies; producers, distributors, and consumers; and teSting Such work includes surveys of current pradtice, formula- and research laboratories. It ascertains the standardization tion of a simplified pradtice program, and presentation of and specifications promoting activities of the associations that program for adtion by a general conference representing and societies, and brings to their attention the work being all interests.
    [Show full text]
  • Challenges and Opportunities of Digital Production Technologies for Developing Countries Department of Policy, Research and Statistics Working Paper 7/2019
    Inclusive and Sustainable Industrial Development Working Paper Series WP 7 | 2019 A REVOLUTION IN THE MAKING? CHALLENGES AND OPPORTUNITIES OF DIGITAL PRODUCTION TECHNOLOGIES FOR DEVELOPING COUNTRIES DEPARTMENT OF POLICY, RESEARCH AND STATISTICS WORKING PAPER 7/2019 A revolution in the making? Challenges and opportunities of digital production technologies for developing countries Antonio Andreoni UCL Institute for Innovation and Public Purpose Guendalina Anzolin University of Urbino UNITED NATIONS INDUSTRIAL DEVELOPMENT ORGANIZATION Vienna, 2019 This is a Background Paper for the UNIDO Industrial Development Report 2020: Industrializing in the Digital Age The designations employed, descriptions and classifications of countries, and the presentation of the material in this report do not imply the expression of any opinion whatsoever on the part of the Secretariat of the United Nations Industrial Development Organization (UNIDO) concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries, or its economic system or degree of development. The views expressed in this paper do not necessarily reflect the views of the Secretariat of the UNIDO. The responsibility for opinions expressed rests solely with the authors, and publication does not constitute an endorsement by UNIDO. Although great care has been taken to maintain the accuracy of information herein, neither UNIDO nor its member States assume any responsibility for consequences which may arise from the use of the material. Terms such as “developed”, “industrialized” and “developing” are intended for statistical convenience and do not necessarily express a judgment. Any indication of, or reference to, a country, institution or other legal entity does not constitute an endorsement.
    [Show full text]
  • The Second Machine Age by Erik Brynjolfsson and Andrew Mcafee Commentary by J
    The Second Machine Age by Erik Brynjolfsson and Andrew McAfee Commentary by J. Craig Wheeler I found the book a little disappointing in several regards. One of the points is technical, but the perspective pervades the book. In the third chapter they talk about Moore’s law and illustrate the power of plotting an exponential growth in a log plot, where it appears as a straight line, rather than in a linear plot, where it appears to have a “knee.” The point is that if the growth of some aspect is roughly exponential, it is scale free. There is no knee. Their metaphor of the “second half of the chessboard” does not really make any sense. There is no finite chess board, unless it is the size of the planet, and even then if you ponder the Universe, the chess board could be infinite. They point out that Ray Kurzweil gives an excellent exposition of exponential growth in all sorts of aspects. That is one reason I use his book in my class. My specific gripe in this regard is that they start off making their case by looking at the “human social development index” in a linear plot where it looks like the development of the steam engine “bent the curve of human history.” They never plot that graph in log space. I don’t have the data, so I can’t be sure, but it would look much less dramatic. Perhaps there is a “kink” with the industrial age, but maybe not. Same for the second machine age.
    [Show full text]
  • The Machine Age in the 1920S
    BECOMING MODERN: AMERICA IN THE 1920S PRIMARY SOURCE COLLECTION ONTEMPORAR Y * IN OMMENTARY THE T WENTIES C “A vision of modern progress,” illustration in Popular Science Monthly, February 1928 (detail) — THE “MACHINE AGE” — Will MACHINES liberate man or enslave him? Will they deliver a bounteous future previously unimaginable, or a barren soulless prison of man’s making? Perennial questions. Here we examine how they were addressed in the 1920s through the writings of industrialists, engineers, economists, clergymen, novelists, a dramatist, a humorist, and other voices who cheered, mourned, or questioned the longterm consequences for man of his precocious offspring, the machine. People call this the mechanistic age, enlarge upon its many Edward S. Martin objectionable features and grumble about the acceleration of “Model T and the Millennium” life and all that. But what would they have? Is the mechanistic Harper’s, February 1928 age a good thing or a bad thing? Is the speeding up of life a basis for satisfaction or for regret? Twenty miles on the highway in old times used to be a pretty fair day’s work for a team. It took three or four hours to do it. When it was done the horses needed to rest and be fed. Now it is something to be done, where the roads are good, in half an hour or a little more by a creature that is not tired when it has done it. The speeding up of life is trying of course, but who can doubt that it is an immense achievement! Our great property in this life is time, and when we get about more quickly we save it.
    [Show full text]
  • Deloitte, "Talent for Survival: Essential Skills for Humans Working in The
    Talent for survival Essential skills for humans working in the machine age Contents Foreword 1 Introduction 2 Shifts in the national economy 4 What human talents are most important? 6 Shifts in industry sectors 18 Challenges yet to be overcome 22 Our conclusion – get the mix right 24 Endnotes 26 Contacts 28 In this publication, references to Deloitte are references to Deloitte LLP, the UK member firm of DTTL. Talent for survival | Essential skills for humans working in the machine age Foreword You may have heard that robots are coming for your job. Rapid advances in robotics, big data and artificial intelligence are beginning to disrupt entire industries, and technology is threatening to replace more than ten million UK workers. But a new debate is now raging between those who argue that we are ushering in an era of unprecedented technological unemployment, and those who claim that job prospects for people with the right mix of talent have never been better. While the debate rages on, we have been examining the data that allows us to understand the changing demand for individual skills, knowledge and abilities caused by technology shifts. Based on our analysis, we believe that, although Science, Technology, Engineering and Mathematics (STEM) skills and knowledge are important in an increasingly digital economy, the UK will benefit most from a workforce that has a balance of technical skills and more general purpose skills, such as problem-solving skills, creativity, social skills and emotional intelligence. We forecast that by 2030, such will be the demand for these general purpose skills that meeting it will require the equivalent of at least 4.5 million additional workers in professional occupations.
    [Show full text]
  • The Future of Work: Race With—Not Against—The Machine
    Research & Policy Briefs From the World Bank Malaysia Hub No. 16, August 2018 The Future of Work: Race with—not against—the Machine Lay Lian Chuah, Norman V. Loayza, and Achim D. Schmillen Will the revolution in digital and information technologies make us obsolete? Will jobs be lost and never replaced? Will wages Public Disclosure Authorized drop to intolerable levels? History and economic theory and evidence suggest that in the long term, such fears are misplaced. However, in the short and medium term, dislocation can be severe for certain types of work, places, and populations. In the transition period, policies are needed to facilitate labor market flexibility and mobility, introduce and strengthen safety nets and social protection, and improve education and training. The Fear: Are We Running Out of Jobs? countries, the overall evidence on the relationship between employment growth and the skills distribution is both more There is growing fear that recent and emerging breakthroughs in tentative and mixed. While the relationship has been U-shaped technologies such as artificial intelligence (AI) and robotics will for countries as diverse as Malaysia, Poland, and Turkey, patterns lead to the wholesale replacement of human workers by for China and a range of other developing countries have differed machines and an era of mass joblessness and even wider income (figure 1). This diversity is likely to be related to the interaction inequality. The U.S. magazine Mother Jones reports, “Smart between local labor market conditions, including the skills machines probably won’t kill us all—but they’ll definitely take distribution, and the technologies that are adopted.
    [Show full text]