April 2nd, 2008 by admin
It is hard to picture a total social and environmental breakdown and it’s easy and comfortable to dismiss these kinds of predictions. But on the 13 of June 2007 it was ‘made official’: the Crash of the U.S. Economy had begun. In a column titled “The Takeover Boom, About to Go Bust” in The Washington Post, one of the foremost house organs of the U.S. monetary elite, economic writers Steven Pearlstein and Robert Samuelson writes:
“It is impossible to predict when the magic moment will be reached and everyone finally realizes that the prices being paid for these companies, and the debt taken on to support the acquisitions, are unsustainable. When that happens, it won’t be pretty”.
Escalating international tension, crisis, war…
At the same time researchers at NASA and Columbia University determined that man-made greenhouse gases have brought the earth’s climate precariously close to a major “Tipping Point” that would have dangerous and far-reaching consequences for the Global Biosphere and its human inhabitants.
Similar reports are being published all over the world…
This increasing dystopian outlook of the future and the need to be rescued seems to concern the public more and more, making way for documentaries such as Al Gore’s An Inconvenient Truth and TV series such as Tim Kring’s Heroes.
There is one problem with documentaries such as The Inconvenient Truth: they don’t offer any real solutions, and deep down we all know that to save the cheerleader is never going to be enough to save the world.
While some of the “younger generation” have become activists in the anti-globalisation movement, the vast majority has been called the MTV generation – fluent in popular culture but largely a-political. But perhaps the personal focus, the obsession with style and surface doesn’t mean that people have stopped caring, maybe it was just a shift of language, but a transformation of sorts? Does popular culture hold the key to our beliefs and attitudes, and can it even unlock people’s consciousness, if packaged seductively? If people have lost faith in politicians and traditional political filmmaking, what do they believe in?
Future For Sale will try to focus on solutions already available but at a first glance might appear as science fiction. Futurists have always had a close connection to this genre since it is a way to plant ideas into the public consciousness. But it is rare to see new films depicting a better future, currently a pessimistic view of the future seems to be more popular. Perhaps filmmakers also have to take the responsibility to be a part of this search?
Many “futurists” have changed the focus of their work, however. If futurism is a movement, then one can argue that its tone has largely changed from ideology to business. Two of the main goals set up by the European Futurists Conference Lucerne, for example, are directly related to support European businesses, and to create an understanding of the future of business, politics and society – in that order.
Does restricting the visions to a future within the monetary based economy mean that the great visionaries of our time become important tools for the big companies?
Does futurism become pointless if the monetary system is a problem in itself in order to progress? Or can we create a sustainable change within it?