Memory: The Origins of Alien is a 2019 documentary film that traces the origin of Ridley Scott’s Alien franchise. Directed and written by Alexandre O. Philippe, it focuses on the idea that film is “a collective art form – not just the wider circle of writers, performers and technicians beyond the director, but in the case of the truly great films, serendipitous access to a deeper collective unconscious …”, tracing the connections from H. P. Lovecraft to Francis Bacon to the Greek Furies. (wiki) / imdb / rt
“Sooner or later
the exact measurement of our time
and we’ll be on the ship that’s bound
for the bitterest shore. (II, 9)
Time is a mystery that does not cease to puzzle us. Philosophers, artists and poets have long explored its meaning while scientists have found that its structure is different from the simple intuition we have of it. From Boltzmann to quantum theory, from Einstein to loop quantum gravity, our understanding of time has been undergoing radical transformations. Time flows at a different speed in different places, the past and the future differ far less than we might think, and the very notion of the present evaporates in the vast universe.
Carlo Rovelli on The Order of Time (youtube)
“For centuries, as long as travel was on horseback, on foot, or in carriages, there was no reason to synchronize clocks between one place and another. There was good reason for not doing so. Midday is, by definition, when the sun is at its highest. Every city and village had a sundial that registered the moment the sun was at its midpoint, allowing the clock on the bell tower to be regulated with it, for all to see.
But the sun does not reach midday at the same moment in Lecce as it does in Venice, or in Florence, or in Turin, because the sun moves from east to west. and for centuries the clocks in Venice were a good half hour ahead of those in Turin. Every small village had its own peculiar “hour.” A train station in Paris kept its own hour, a little behind the rest of the city, as a kind of courtesy toward travelers running late.
(…) What do we think of when we hear the word “meaning ether?” Probably not nearly enough — myself included! — for it is difficult to grasp what the term “meaning” signifies here. With respect to the chemical ether we had to refer to the numerical laws and to the Harmony of the Spheres. To the meaning ether, however, belongs the general and great harmony of the universe (as Kepler has expressed it). It can help us yet further if we consider a word which was used by the profound translator of many works of Chinese literature, Richard Wilhelm. He has chosen to translate the word “tao,” as used in the “Tao te Ching,” (“Tao” is translated into English as “way.”) with the German word “Sinn” (sense, or meaning). He points out that it had something of the same meaning as did the Greek word “logos” at the turning point of time, the beginning of the Christian era. If you consult a Greek dictionary, you will find a long list of meanings for the term “logos” — word, speech, computation, relationship, reason, etc. The mathematicians of 400 B.C. used the word “logos” when they stated a ratio, as 3:4. And when in the time of Plato it was established that there was no “logos,” or integral proportionality, between the diagonal and the side of a square, that was called an “a-logon,” or something without logos. Translated into Latin, logos became “ratio,” and something without “ratio” (or proportion) was something “irrational.” The discovery of the irrational in the time of Plato consisted in the proof that “irrationality” exists in the world of measure. That gives a faint indication of the paradox inherent in the deepest “sense of the word ‘sense’.”
But now you must understand that the negative mirror image of a mastery of the world of meaning, of the logos, must appear in our time, and where this negative image appears it is today called “information.” The “Science of Information” can only measure the quantitative aspect of information, and not that which is its true meaning.
by Georg Unger, 1978 (online)
Helloween “-Walls Of Jericho” full album / judas
“Achilles, Agony and Ecstasy in Eight Parts” is the longest (28 minutes and 38 seconds) and most complex Manowar song, and probably an anticipation of a concept album that was never accomplished. Because of its Homeric content, “Achilles, Agony and Ecstasy in Eight Parts” has recently attracted the attention of a group of scholars at Bologna University in Italy. Mrs. Eleonora Cavallini, Professor in Classics, has written about this song:
“Joey DeMaio’s lyrics imply a careful and scrupulous reading of the Iliad. The songwriter has focused his attention essentially on the crucial fight between Hector and Achilles, has paraphrased some passages of the poem adapting them to the melodic structure with a certain fluency and partly reinterpreting them, but never altering or upsetting Homer’s storyline. The purpose of the lyrics (and of the music as well) is to evoke some characteristic Homeric sceneries: the raging storm of the battle, the barbaric, ferocious exultance of the winner, the grief and anguish of the warrior who feels death impending over him. The whole action hinges upon Hector and Achilles, who are represented as specular characters, divided by an irreducible hatred and yet destined to share a similar destiny. Both are caught in the moment of the greatest exaltation, as they savagely rejoice for the blood of their killed enemies, but also in the one of the extreme pain, when the daemon of war finally pounces on them. Furthermore, differently than in the irreverent and iconoclastic movie Troy, in “Achilles, Agony and Ecstasy in Eight Parts”, the divine is a constant and ineluctable presence, determining human destinies with inscrutable and steely will, and, despite the generic reference to ‘the gods’, the real master of human lives is Zeus, the only God to whom both Hector and Achilles address their prayers
Homer used two adjectives to describe aspects of the colour blue: kuaneos, to denote a dark shade of blue merging into black; and glaukos, to describe a sort of ‘blue-grey’, notably used in Athena’s epithet glaukopis, her ‘grey-gleaming eyes’. He describes the sky as big, starry, or of iron or bronze (because of its solid fixity). The tints of a rough sea range from ‘whitish’ (polios) and ‘blue-grey’ (glaukos) to deep blue and almost black (kuaneos, melas). The sea in its calm expanse is said to be ‘pansy-like’ (ioeides), ‘wine-like’ (oinops), or purple (porphureos). But whether sea or sky, it is never just ‘blue’. In fact, within the entirety of Ancient Greek literature you cannot find a single pure blue sea or sky.
Yellow, too, seems strangely absent from the Greek lexicon. The simple word xanthos covers the most various shades of yellow, from the shining blond hair of the gods, to amber, to the reddish blaze of fire. Chloros, since it’s related to chloe (grass), suggests the colour green but can also itself convey a vivid yellow, like honey.
The Ancient Greek experience of colour does not seem to match our own. In a well-known aphorism, Friedrich Nietzsche captures the strangeness of the Greek colour vocabulary:
How differently the Greeks must have viewed their natural world, since their eyes were blind to blue and green, and they would see instead of the former a deeper brown, and yellow instead of the latter (and for instance they also would use the same word for the colour of dark hair, that of the corn-flower, and that of the southern sea; and again, they would employ exactly the same word for the colour of the greenest plants and of the human skin, of honey and of the yellow resins: so that their greatest painters reproduced the world they lived in only in black, white, red, and yellow).
How is this possible? Did the Greeks really see the colours of the world differently from the way we do? read more:
timespace coordinates: 2688 >1988 San Dimas, California > Austria in 1805 > 1879 the Old West > 410 BC ancient Greece > 14th century medieval England > 1901 Vienna Austria > Kassel, Germany, 1810 > Orleans, France, 1429 > Outer Mongolia 1209 >The White House, 1863Bill & Ted’s Excellent Adventure is a 1989 American science fiction comedy film directed by Stephen Herek and written by Chris Matheson and Ed Solomon. It stars Alex Winter, Keanu Reeves, and George Carlin. The plot follows slackers Bill (Winter) and Ted (Reeves), who travel through time to assemble historical figures for their high school history presentation.
Bill & Ted’s Excellent Adventure received generally positive reviews and was commercially successful. It is now considered a cult classic.
DC Comics produced a tie-in comic following the plot of the first movie timed to coincide with that film’s release on home video. The sequel was adapted by DC’s competitor Marvel Comics, published to coincide with the second film’s release in theaters. Its popularity led to the ongoing Marvel series Bill & Ted’s Excellent Comic Book by Evan Dorkin, which lasted for 12 issues.
There were also Game Boy, NES and Atari Lynx games released, which were very loosely based on the film’s plot. A PC title and nearly identical Amiga and Commodore 64 port were made in 1991 by Off the Wall Productions and IntraCorp, Inc. under contract by Capstone Software and followed the original film very closely. (wiki)