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  1. Echoing human security principles, the 2030 Agenda for Sustainable Development emphasizes a “world free of poverty, hunger, disease and want … free of fear and violence … with equitable and ...

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    For more information, watch sessions on the Global Economic Outlook, the Global Science Outlook and The Future of Consumption from our Annual Meeting 2017.

    As Brexit and Donald Trumps victory show, predicting even the immediate future is no easy feat. When it comes to what our world will look like in the medium-term how we will organise our cities, where we will get our power from, what we will eat, what it will mean to be a refugee it gets even trickier. But imagining the societies of tomorrow can give us a fresh perspective on the challenges and opportunities of today. We asked experts from our Global Future Councils for their take on the world in 2030, and these are the results, from the death of shopping to the resurgence of the nation state. 1. All products will have become services. I don't own anything. I don't own a car. I don't own a house. I don't own any appliances or any clothes, writes Danish MP Ida Auken. Shopping is a distant memory in the city of 2030, whose inhabitants have cracked clean energy and borrow what they need on demand. It sounds utopian, until she mentions that her every move is tracked and outside the city live swathes of discontents, the ultimate depiction of a society split in two.

    8. By the 2030s, we'll be ready to move humans toward the Red Planet. Whats more, once we get there, well probably discover evidence of alien life, writes Ellen Stofan, Chief Scientist at NASA. Big science will help us to answer big questions about life on earth, as well as opening up practical applications for space technology.

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    How has film changed over the years?

    What does the UN resolve to do between now and 2030?

    How can human security help achieve Agenda 2030?

    What are the recent innovations in the film industry?

  3. become real. The role of Network 2030 is to identify the right set of network technologies required to deliver these applications. To be exact, it is scoped to serve up the communication needs of our society in the year 2030: its purpose remains to address new capabilities of both public and private wireline or fixed networks.

  4. 7.a By 2030, enhance international cooperation to facilitate access to clean energy research and technology, including renewable energy, energy efficiency and advanced and cleaner fossil-fuel technology, and promote investment in energy infrastructure and clean energy technology 7.b By 2030, expand infrastructure and upgrade technology for ...

    • The Lumière Brothers
    • Méliès’ Moon
    • Colour
    • Sound
    • Television
    • Animation
    • The Pixar Era

    The beginning of the seventh art cannot be understood without the contribution of the Lumière brothers. These pioneers, inventors of the cinematograph, recreated the illusion of movement. Their goal was no other than deceiving our eyes. According to the journalist Yolima Andrea Díaz, the film and its advances in technology date back to representations such as the mid-sixteenth century “camera obscura”, the seventeenth century “magic lantern” or Étienne-Jules Marey’s portable chronophotography. But the industry went far beyond those basic techniques that projected images in dark rooms, showed still transparent pictures or moved bands that displayed twelve images per second. The Lumière brothers’ cinematograph was unveiled at a scientific conference held in March 1895, although its official presentation was on December 28 of that same year at the Grand Café Boulevard des Capucinesin Paris. In this French corner, and as a surprise to the audience, they projected the arrival of a train...

    The Lumière brothers began the history of film with the invention of the cinematograph. But the illusion of movement – centrepiece of the seventh art – also owes much to another French filmmaker. Since Georges Méliès“crashed” a rocket on the surface of the Moon in 1902 nothing will ever be the same again. The French director used the techniques of superimposition of images, fading, double exposures and scale models. Thus he managed to produce the film A Trip to the Moon (Le Voyage dans la Lune) despite the technical precariousness of the early twentieth century. 67 years before the Apollo 11 mission set foot on the satellite for the first time, Méliès could “portray” the landing of a ship in the eye of the Moon, a famous image that characterizes the first major science fiction film.

    In 1916, one of the most important techniques of the seventh art arrived: Technicolor,which allowed filmmakers to record films in colour. A key turning point for the industry, which was possible thanks to the introduction of a photographic chemical process that managed to introduce colour in movie frames Thanks to the discovery of Daniel Comstock and Burton Wescott, the Technicolor Corporation company succeeded in turning black and white films into colour. This discovery, based on the Kinemacolor system, recorded images in two colours (red and teal) using only one lens. How did it work? A light and colour filters beam splitter facilitated the process, however, it ended up having many difficulties for the projection in theatres. And so was demonstrated with the premiere of The Gulf Between,in 1917. The projectionist – due to the novelty of the process – was not able to adjust the machine properly and correctly register the two colors on the screen, affecting to the proper display of...

    The incorporation of coloured frames was not the only technical revolution experienced by the cinema between the twenties and thirties. In 1927, Alan Crosland premiered his black and white film The Jazz Singer. A work which was not yet benefited from the advantages of Technicolor, but in which an essential aspect for another of our senses was changed. We changed from the silent film characterized by Charles Chaplinto one in which sounds accompanied the images projected. The technical breakthrough that made ​​it possible was the Vitaphone.This system, sponsored by Warner Bros and First National studios, allowed recording soundtracks and spoken texts on disks that were then reproduced at the same time as the film. Despite its precariousness, this device completely changed the industry but was soon replaced by the Movietone, invented by Lee de Forest and marketed by Fox from 1927 on with the production of Sunrise: A Song of Two Humans. This second system allowed to record audio directl...

    Two decades after these technological revolutions, film came face to face with what would remain its biggest competitor until the arrival of the Internet: Television. To counteract its popularity, Fox developed a new imaging system known as Cinemascope. This method takes large images by compressing a normal size one within the standard 35 mm frame. The aim is to achieve a ratio between 2.66 and 2.39 times wider than high, thanks to the use of special anamorphic lenses, which were placed in the cameras and screening machines. The introduction of the Cinemascope also inaugurated a new era in film, thereafter characterized by the use of panoramic formats,with similar systems to VistaVision, Todd-AO, Panavision, SuperScope and Technirama.

    If something has been highlighted in the recent film innovation it has been, without a doubt, the works of animation. And Disney has played a key role in these advances. With the release of Steamboat Willie in 1927, Walt Disney began the golden age of animated films, with Mickey Mouse as the big star, becoming the flagship of the multinational until today. The genius of animation introduced a technique that would be emulated by many other producers of his time. The method, known as sound cartoon,allowed to synchronize cartoons and sounds, as perfectly shown in the scene of the smoke coming out of the boat that a primitive Mickey Mouse sailed. He was the first to give importance to animation as a potential for the filmmaking sector and, as such, he wanted to go much further in the techniques employed. The multiplane camera developed by Ub Iwerks and also introduced by Disney, allowed to provide traditional animation with – at least at the time – innovative three–dimensional effects....

    But if something has highlighted Disney, and later Pixar, it is in the application of computer graphics. The first work in which the company used computing was the famous Beauty and the Beast. Among the examples of technical innovation that takes place at Disney Research– the research centres located in the United States and Switzerland – the smoke effect, the reconstruction of hair and facial hair or facial geometry modelling are to be highlighted. Pixar was also a symbol of animated filming since its very beginning with premieres such as Toy Story, Monsters Inc. and Cars. Its creations and innovations were based on the advances made ​​in Westworld, a science fiction story famous for having used the first computer-generated graphics. The momentum that Steve Jobs(co-founder of the animation company) gave to the film industry was so great that, eventually, Disney ended up acquiring Pixar in 2006 for 7,400 million dollars. The two companies joined forces, a collaboration that had begu...

  5. Oct 11, 2021 · Scientists estimate that emissions must be reduced by 45% by 2030, compared with 2010 levels, and from there to net zero emissions by 2050, if the world is to have a good chance of remaining ...

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