म.स.

starry night

Starry, starry night
Paint your palette blue and gray
Look out on a summer's day
With eyes that know the darkness in my soul
Shadows on the hills
Sketch the trees and the daffodils
Catch the breeze and the winter chills
In colors on the snowy linen land

Now I understand
What you tried to say to me
How you suffered for your sanity
How you tried to set them free
They would not listen they did not know how
Perhaps they'll listen now

Starry, starry night
Flaming flowers that brightly blaze
Swirling clouds in violet haze
Reflecting Vincent's eyes of China blue
Colors changing hue
Morning fields of amber grain
Weathered faces lined in pain
Are soothed beneath the artist's loving hands

Now I understand
What you tried to say to me
How you suffered for your sanity
How you tried to set them free
They would not listen they did not know how
Perhaps they'll listen now

For they could not love you
But still your love was true
And when no hope was left in sight
On that starry, starry night
You took your life as lovers often do
But I could have told you Vincent
This world was never meant for one as
beautiful as you

Starry, starry night
Portraits hung in empty halls
Frameless heads on nameless walls
With eyes that watch the world and can't forget
Like the strangers that you've met
The ragged men in ragged clothes
A silver thorn on a bloody rose
Lie crushed and broken on the virgin snow

Now I think I know
What you tried to say to me
How you suffered for your sanity
How you tried to set them free
They would not listen they're not listening still
Perhaps they never will

ολεολεολε

Nosferatu

?

John Whitney

Computers were originally developed as part of the British and American World War II defense efforts. They were first known as "Turing Machines" after Alan Turing who invented them to break Nazi codes -- the film of Andrew Hodges' biography was recently broadcast as Breaking the Code with Derek Jacobi portraying the inventor. The young John Whitney worked in the Lockheed Aircraft Factory during the war and while he was working with high-speed missile photography, he was technically adept enough to realize that the targeting elements in such weapons as bomb sites and anti-aircraft guns calculated trajectories and produced finely-controlled linear numerical equivalents, which could potentially be used for plotting graphics or guiding movements in peacetime artistic endeavors. A decade would pass before he was able to buy some of these analog computer mechanisms as "war-surplus" and construct with them his own "cam machine," which pioneered the concept of "motion control."

In the meantime, Whitney had made about two dozen films in more or less traditional animation. Among these were: in 8mm, a time-lapse of an eclipse and several drawn Variations, in 16mm two Film Exercises accompanied by electronic music composed by Whitney with a system of pendulums he had invented, and about 10 abstract musical visualizations using an oil-wipe instrument he had also invented as well as three 35mm cartoons for the UPA studios. He also did various commercial assignments including the title design for Hitchcock's feature Vertigo (in association with Saul Bass), and the preparation (in association with Charles Eames) of a seven-screen presentation for the Buckminster Fuller Dome in Moscow.

With his computerized motion-control set-up, Whitney could produce a variety of innovative designs and metamorphoses of text and still images, which proved very successful in advertising and titling of commercial projects. By 1960 Whitney prepared a sample reel of these and other effects he could produce, and solicited work for his Motion Graphics, Inc. company. This company kept him so busy he did not have time to make personal films using the computerized motion-control set-up. His sample reel was artfully edited and ended with a lovely final image of a lissajous curve multiplied dozens of times, to appear twisting in waves, suggesting the time-lapse of a blossoming flower. The reel was released as Catalog and became a popular classic of 1960's psychedelica. John Whitney's younger brother James, who had collaborated with him on the early Variations and Film Exercises, used John's cam machine to shoot his fabulous film Lapis. By multiplying the hundreds of dots in his hand-drawn original artwork into thousands of dots he described the most complex mandalas writhing with life.

Not all of the motion-control effects business for Whitney's "cam machine" ventures went in his favor, however. One of the possibilities demonstrated in Catalog is the slit-scan effect. Someone else duplicated the effect for the feature 2001. Ironically, Whitney had submitted to them a proposal for a monolith as a computer-generated effect that would have looked different from anything else in the film. He was turned down.

Whitney had an opportunity to work on the new high-powered digital computers between 1966 and 1969, when he was awarded a fellowship as artist-in-residence at IBM. Jack Citron programmed the IBM 360 Digital computers for him. His first computer generated film is rarely seen, but delightful. Whitney titled the film Homage to Rameau not only because Rameau wrote the baroque music heard on the soundtrack, but also to reference Rameau's book Treatise on Harmony. This text focused the direction of Whitney's aesthetic strivings, culminating in his 1980 book Digital Harmony.

At approximately the same time that Whitney worked at IBM in California, other artist-in-residence programs in the East allowed Stan Vanderbeek and Lilian Schwartz to work with Ken Knowlton at Bell Labs. Vanderbeek's Poem Fields mainly uses his clever texts as subject matter, and Schwartz's abstract music films, though colorful and well-paced, seem too similar, hampered by the limitations of the Beflix program. By contrast, John Whitney's computer films grew continually more intricate in their exploration of a genuine aesthetic goal: the establishment of a secure basis for harmonic events in audio-visual presentation.

In each of John's next five films [Permutations (1968), Osaka 1-2-3 (1971), Matrix I (1971), Matrix II (1971), Matrix III (1972), Arabesque (1975)], he demonstrated the principle of "harmonic progression." For example, in Arabesque (programmed by Larry Cuba), Whitney experimented with the eccentricities of Islamic architecture, which, though ultimately harmonic, contain many characteristic reverse curves in its embellishments. Whitney also made three documentary films on the subject of digital harmony. In 1979 he completed Experiments in Motion Graphics. His 1973 Hex Demo for a lecture at Cranbrook was included on a laserdisc of his works issued by Pioneer in 1984.He also completed in 1993 A Personal Search for the Complementarity of Music and Visual Art which is available through Pyramid Film and Video.

In the later 1980s, Whitney concentrated on developing a computerized instrument on which one could compose visual and musical output simultaneously in real time. His first piece on this new instrumentation, which was improved and updated constantly, appeared as Spirals in 1987. Although the compositions were linked to the particular computer set-up, and defied many attempts to copy them onto film and video, Whitney continued to compose new visual-music pieces until his death in 1995. The Moon Drum series in 12 sections based on Native American ceremonial art was most notable. Although less brilliant than the original computer monitor display, a satisfactory video version of Moon Drum was released.

John Whitney's active filmmaking career endured over 55 years, and 40 of those years were devoted to computer work. This is a remarkable record for any independent filmmaker, but particularly astonishing for the continued quality and vision of Whitney's films.

καταστροφολογία και το νησί του Πάσχα

Κάθε φορά που έπρεπε να έρθει το τέλος του κόσμου...

31/12/999
Χίλια χρόνια μετά τη γέννηση του Χριστού, το τέλος σύμφωνα με τα απόκρυφα Ευαγγέλια.
20/2/1524
Ένας κατακλυσμός θα αφάνιζε τον κόσμο σύμφωνα με τον Γερμανό Γιόχανες Στέφλερ.
19/5/1719
Ο Ελβετός μαθηματικός Ζακ Μπερνούλι προέβλεψε τη σύγκρουση ενός κομήτη με τη Γη.
1732
Το τέλος του κόσμου που προέβλεψε ο Νοστράδαμος.
19/10/1814
Η Τζοάνα Σάουθκοτ προέβλεψε ότι εκείνη την ημέρα θα γεννούσε τον «δεύτερο Μεσσία» (και θα ερχόταν το τέλος του κόσμου).
3/4/1843, 7/7/1843, 21/3/1844, 22/10/1844
Ο Αμερικανός Γουίλιαμ Μίλερ ανακοίνωσε το τέλος του κόσμου σε όλες αυτές τις ημερομηνίες.
2/10/1914
Η Ημέρα της Κρίσης σύμφωνα με τον Τσαρλς Τέιζ Ράσελ, τον ιδρυτή των Μαρτύρων του Ιεχωβά. Δε συνέβη τίποτα. Οι οπαδοί του προέβλεψαν το τέλος του κόσμου το 1925, το 1941, το 1975 και τέλος στις 2/10/1984.
17/12/1919
Ο σεισμολόγος και μετεωρολόγος Αλμπέρτο Πόρτα προέβλεψε μια μοιραία σύνοδο 6 πλανητών.
24/5/1954
Στις 18 Μαΐου εμφανίστηκαν ρωγμές στο Κολοσσαίο (κάτω). Σύμφωνα με μια αρχαία δοξασία, «Η Ρώμη και ολόκληρος ο κόσμος θα είναι ασφαλείς όσο το Κολοσσαίο είναι όρθιο». Κάποιοι προέβλεψαν την ημερομηνία, και χιλιάδες προσκυνητές πήγαν στον Πάπα, για να ζητήσουν άφεση αμαρτιών.
28/10/1992
Ο αιδεσιμότατος Λι Γιανγκ Λιμ, της ιεραποστολικής εκκλησίας του Τάμι, στη Νότια Κορέα, ανακοίνωσε ότι ο Χριστός είχε ζητήσει να συγκεντρωθούν 144.000 πιστοί τα μεσάνυχτα εκείνης της ημέρας, για να τους σώσει από τον Αρμαγεδδώνα (την τελική μάχη ανάμεσα στο Καλό και το Κακό). Περισσότερα από 100.000 άτομα παρουσιάστηκαν σε περίπου 200 φονταμενταλιστικές εκκλησίες. Όμως ο Λι Γιανγκ Λιμ συνελήφθη, γιατί καταχράστηκε 4 εκατομμύρια δολάρια που συγκεντρώθηκαν από δωρεές των πιστών.
7/1999
Ένα δεύτερο τέλος του κόσμου που προέβλεψε ο Νοστράδαμος.
11/1999
Διατυπώθηκε η εικασία ότι ένα πείραμα ατομικής φυσικής στα Brookhaven National Laboratories των ΗΠΑ θα μπορούσε να οδηγήσει στη δημιουργία μιας μαύρης τρύπας που θα καταβρόχθιζε τον κόσμο.
31/12/1999
Η ημερομηνία του Millennium bug (τα συστήματα πληροφορικής θα έπρεπε να κρασάρουν).
19/1/2038
Στις 05:14:07 ώρα Ελλάδας προβλέπεται ένα καινούριο Millennium bug (που αυτή τη φορά θα έχει να κάνει μόνο με το λειτουργικό σύστημα Unix)

Η Νήσος του Πάσχα

Πριν από χίλια χρόνια, σε ένα απομονωμένο νησί 3.600 χλμ. ανατολικά της Χιλής, στη Νήσο του Πάσχα, άκμασε ένας πολιτισμός που σκάλισε εκατοντάδες γιγαντιαίους ογκόλιθους σε σχήμα ανθρώπινου κεφαλιού. Έπειτα, ξαφνικά, αυτός ο πολιτισμός εξαφανίστηκε.
Γιατί; Θα μπορούσε να συμβεί και σε εμάς; «Η Νήσος του Πάσχα είναι το τέλειο παράδειγμα της κοινωνίας που αυτοκαταστρέφεται, γιατί εκμεταλλεύεται υπερβολικά το περιβάλλον», λέει ο Τζάρεντ Ντάιαμοντ στο βιβλίο Κατάρρευση. «Ο παραλληλισμός με το σύγχρονο κόσμο είναι πολύ ισχυρός. Χάρη στην παγκοσμιοποίηση, όλες οι χώρες της Γης μοιράζονται σήμερα τους ίδιους πόρους και αλληλοεπηρεάζονται, όπως έκαναν οι φυλές στη Νήσο του Πάσχα. Αυτό το νησί ήταν ένα απομονωμένο κομμάτι γης στη μέση του Ειρηνικού Ωκεανού. Όταν οι κάτοικοι του νησιού άρχισαν να αντιμετωπίζουν δυσκολίες, δεν υπήρχε άλλο μέρος για να πάνε ούτε κάποιος δίπλα τους που θα μπορούσε να τους βοηθήσει. Το ίδιο μπορεί να συμβεί και σε εμάς, στη Γη. Η κατάρρευση της κοινωνίας της Νήσου του Πάσχα είναι ένα παράδειγμα, η χειρότερη εικασία για αυτό που μπορεί να μας επιφυλάσσει το μέλλον»