The pattern of economic growth is, historically, a startlingly recent development.
In April, 1968, a consequential meeting took place in the Villa Farnesina, a stately Roman home built for Pope Julius II’s treasurer and adorned with frescoes by Raphael. The conveners were Alexander King, a Scottish chemist who directed scientific affairs for the Organization for Economic Co-operation and Development, and Aurelio Peccei, an Italian industrialist who simultaneously held executive positions at the automaker Fiat, the typewriter manufacturer Olivetti, and a large consulting firm. Like many modern friendships, King and Peccei’s was cemented by a shared deep-seated anxiety. They gave the object of their concern a grand name: the “world problématique,” meaning the interrelated cultural, political, and environmental conflicts that threatened humanity. But the organization they launched came to be known, more simply, as the Club of Rome. Its mission, in Peccei’s words, was to “rebel against the suicidal ignorance of the human condition.”
Diese Geschichte stammt aus der June 03, 2024-Ausgabe von The New Yorker.
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Diese Geschichte stammt aus der June 03, 2024-Ausgabe von The New Yorker.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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HOLIDAY PUNCH
\"Cult of Love\" on. Broadway and \"No President\" at the Skirball.
THE ARCHIVIST
Belle da Costa Greene's hidden story.
OCCUPY PARADISE
How radical was John Milton?
CHAOS THEORY
What professional organizers know about our lives.
UP FROM URKEL
\"Family Matters\" and Jaleel White's legacy.
OUTSIDE MAN
How Brady Corbet turned artistic frustration into an American epic.
STIRRING STUFF
A secret history of risotto.
NOTE TO SELVES
The Sonoran Desert, which covers much of the southwestern United States, is a vast expanse of arid earth where cartoonish entities-roadrunners, tumbleweeds, telephone-pole-tall succulents make occasional appearances.
THE ORCHESTRA IS THE STAR
The Berlin Philharmonic doesn't need a domineering maestro.
HEAD CASE
Paul Valéry's ascetic modernism.