Can Our Cities Survive? By J. L. Sert. (Cambridge: Harvard University Press. 1942. Pp. xi, 259. $5.00.) - The City: Its Growth, Its Decay, Its Future. By Elliel Saarinen. (New York: Reinhold Publishing Corporation. 1943. Pp. xvi, 380. $3.50.) - New York Phns for the Future. By Cleveland Rodgers. (New York: Harper and Brothers. 1943. Pp. xvi, 293. $3.00.).

1943 ◽  
Vol 37 (4) ◽  
pp. 728-730
Author(s):  
Phillips Bradley
Urban Studies ◽  
1991 ◽  
Vol 28 (2) ◽  
pp. 296-297
Author(s):  
Robert H. Aten
Keyword(s):  
New York ◽  

2019 ◽  
pp. 112-122 ◽  
Author(s):  
Sergey  R. Moiseev

In 2019 the doctrine, called “Modern Monetary Theory” (MMT), broke into the political Olympus. Political, academic and financial circles in the USA, the United Kingdom and Australia are actively discussing what was previously unthinkable: the budget deficit does not matter, the money printing is able to close the gap between government spending and taxes without inflation pressuring and other well-known ideas presented in a new light. The strict criticism of MMT was voiced by the economists of all kinds, from Kenneth Rogoff and Lawrence Summers from Harvard University to Paul Krugman from the City University of New York. All of them claim that under the mask of a new theory simple left populism is hidden. Representatives of MMT believe that when their supporters win in the upcoming elections in the USA, they will open a new page in the history of economics and politics.


2004 ◽  
Vol 63 (1) ◽  
pp. 74-99 ◽  
Author(s):  
Adnan Morshed

The present article concerns the early-twentieth-century avant-garde's aestheticizing of a new vision occasioned by the advent of human flight. It focuses on the project that best reflects this vision: the Futurama, an exhibit created by the American industrial designer Norman Bel Geddes for the 1939 New York World's Fair. The Futurama's status as the "number one hit show" of the fair derived largely from its theatrical technique of seeing: spectators literally gazed down on an American utopia as if they were aviators in a low-flying airplane. Conceived during the golden age of American aviation, in the 1920s and 1930s, the Futurama exemplified the common utopian belief that the perspective from an airplane would usher in new spatial dynamics that would introduce the city of the future. The enthusiasm for aerial vision evinced a remarkable affiliation between aviation and a modernist logic of looking at the world. The fact that the Futurama spectator's aerial viewing became enmeshed in broader conceptualizations of twentieth-century visuality reveals the crucial presence of what could be called an "aesthetics of ascension" in the avantgarde imagination of the future city.


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