Retro-futuristic

Retrofuturism (adjective retrofuturistic or retrofuture) is a trend in the creative arts showing the influence of depictions of the future produced in an earlier era. If "futurism is sometimes called a 'science' bent on anticipating what will come, retrofuturism is the remembering of that anticipation." Characterized by a blend of old-fashioned "retro" styles with futuristic technology, retrofuturism explores the themes of tension between past and future, and between the alienating and empowering effects of technology. Primarily reflected in artistic creations and modified technologies that realize the imagined artifacts of its parallel reality, retrofuturism can be seen as "an animating perspective on the world." But it has also manifested in the worlds of fashion, architecture, design, music, literature, film, and video games.

The word retrofuturism, combines more recent ideas of nostalgia and retro with older traditions of futurism. An early use of the term was in the title of T.R. Hinchcliffe's Pelican book Retro-futurism - Penguin, 1967. A recent neologism, the actual term retrofuturism was used by American Lloyd Dunn in 1983, according to fringe art magazine Retrofuturism, which was published between 1988 and 1993.

Retrofuturism builds on ideas of futurism, but the latter term functions differently in several different contexts. In avant-garde artistic, literary and design circles, Futurism is a long-standing and well established term. But in its more popular form, futurism (sometimes referred to as futurology) is "an early optimism that focused on the past and was rooted in the nineteenth century, an early-twentieth-century "golden age" that continued long into the 1960s' Space Age."

In his 1967 book T.R. Hinchcliffe wrote: "The intention of this book is to examine major recurrent themes in mans' many analogue predictions & prophecies of the future - from inspired fantasy to factually based notions, their cultural & scientific impact, the brilliance [or otherwise] of those ideas, and how they are now faring at the apparent dawning of our electronic future."

Retrofuturism is first and foremost based on modern but changing notions of "the future". As Guffey notes, retrofuturism is "a recent neologism," but it "builds on futurists’ fevered visions of space colonies with flying cars, robotic servants, and interstellar travel on display there; where futurists took their promise for granted, retro-futurism emerged as a more skeptical reaction to these dreams." It took its current shape in the 1970s, a time when technology was rapidly changing. From the advent of the personal computer to the birth of the first test tube baby, this period was characterized by intense and rapid technological change. But many in the general public began to question whether applied science would achieve its earlier promise—that life would inevitably improve through technological progress. In the wake of the Vietnam War, environmental depredations, and the energy crisis, many commentators began to question the benefits of applied science. But they also wondered, sometimes in awe, sometimes in confusion, at the scientific positivism evinced by earlier generations. Retrofuturism "seeped into academic and popular culture in the 1960s and 1970s," inflecting George Lucas’ Star Wars and the paintings of pop artist Kenny Scharf alike". Surveying the optimistic futurism of the early twentieth century, the historians Joe Corn and Brian Horrigan remind us that retrofuturism is "a history of an idea, or a system of ideas--an ideology. The future, or course, does not exist except as an act of belief or imagination."

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