663 – November (2017)

spacetime coordinates: 19th century EstoniaNovember_PosterNovember is a 2017 Estonian fantasy drama film directed by Rainer Sarnet, based on Andrus Kivirähk‘s novel Rehepapp ehk November (Old Barny aka November).november 1

“Sarnet’s earthbound fairy tale occupies a dreamscape somewhere between the teeming canvases of Brueghel and the existential agonies of Bela Tarr‘s films.” Sheri Linden

November – Official Trailer

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634 – Anonymous (2011)

spacetime coordinates: 16th – early 17th century Londonanonymous_xlgAnonymous is a 2011 political thriller film directed by Roland Emmerich and written by John Orloff. The film is a version of the life of Edward de Vere, 17th Earl of Oxford, an Elizabethan courtier, playwright, poet and patron of the arts, and suggests he was the actual author of William Shakespeare‘s plays. It stars Rhys Ifans as de Vere and Vanessa Redgrave as Queen Elizabeth I of EnglandThe effects crew “took 30,000 pictures in England, of every Tudor building they could find, and then they scanned them all into the computer and built real London in 1600.”  (wiki)

The film was a box office flop and received mixed reviews, with critics praising its performances and visual achievements, but criticizing the film’s time-jumping format, factual errors, and the filmmakers’ promotion of the Oxfordian theory of Shakespeare authorship. (read more: controversy)            imdb

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William Shakespeare – Notes of a Lecture given
by Dr. Rudolf Steiner (On-line here)

618 – Hunt for the Wilderpeople (2016)

spacetime coordinates: 2010’s New Zealand509306b92fea2d065cd0bf47c4b12d56--warner-bros-movie-postersHunt for the Wilderpeople is a 2016 New Zealand adventure comedy-drama film written and directed by Taika Waititi, whose screenplay was based on the book Wild Pork and Watercress by Barry CrumpCarthew Neal, Leanne Saunders, Matt Noonan, and Waititi produced the film. Sam Neill and Julian Dennison play “Uncle” Hector and Ricky Baker, a father figure and son who become the targets of a manhunt after fleeing into the New Zealand bush.

imdb

588 – The Hitchhiker’s Guide to the Galaxy (2005)

 

MV5BZmU5MGU4MjctNjA2OC00N2FhLWFhNWQtMzQyMGI2ZmQ0Y2YyL2ltYWdlXkEyXkFqcGdeQXVyNTAyODkwOQ@@._V1_SY1000_CR0,0,677,1000_AL_The Hitchhiker’s Guide to the Galaxy is a 2005 British-American science fiction comedy film directed by Garth Jennings, based upon previous works in the media franchise of the same name, created by Douglas Adams. It stars Martin FreemanSam RockwellMos DefZooey Deschanel and the voices of Stephen Fry and Alan Rickman. This is the ninth version of the “Hitchhiker’s Guide”. It has previously appeared as a radio series, two record albums, novels, a television series (The Hitchhiker’s Guide to the Galaxy (1981)), a computer game, a stage show, a comic book, a video game (The Hitchhiker’s Guide to the Galaxy (1984)) and a towel. (The game version is not, in fact, a video game, but was an Infocom “interactive fiction” {text only} game, plotted/scripted by Douglas Adams, programmed by Steve Meretzky, which has been available to play free on the BBC Radio 4 website since 2005.)

The producers have stated that this film is not a literal translation of the books (just as the books were not a literal translation of the original radio show), but all of the new ideas and characters came from Douglas Adams himself. The hired writer simply came aboard to improve structure and make the screenplay more coherent.

ln4AudDEaster Egg: The DVD includes an “Improbability Drive” item on every menu. Clicking this leads to a random point in one of the bonus features. Used several times leads to a strange cartoon, which is the same one Deep Thought watches.f281050122b7b1b5b3d586b9184ed806The Hitchiker’s Guide is a parody of “The Encyclopedia Galactica” from Isaac Asimov‘s Foundation novels.

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558 – Synthetic Worlds: Nature, Art and the Chemical Industry by Esther Leslie

“Through coal’s carbon chemistry, and its waste product of coal-tar, a realm of synthetic colours and substances is unlocked from a dense and primitive blackness. The first magic act is coal-tar becoming colour, the first of thousands of substitutions. This magic is a black force. Gravity’s Rainbow lets loose its narrative strands amongst a world of acronyms and neologisms, fictional and actual. spqr, arf, mmpi, soe, spog,
cios, bafo, nta, shaef, pwd, cns, pisces, viam, tsagi, niso, bafo, okw, achtung, Kryptosam, Hexeszüchtigung, ctenophile, Oneirine. These clatter like the evil spells from a necromancer’s manual. These clotted words spell out the coordinates of military, economic and technological power. The most important of these cryptic formulae, the acronyms that generate the rainbow and allow the tracing of its arc,are the colour factory ig Farben and the German Second World War rocket weaponry known as v-1, v-2 or a4. Pynchon brings these two industrial-technological forces into proximity with magic, mysticism and alchemy.”

“Inside the arcades, the ur-architectural phenomenon of the nineteenth century, transitional colours, twinkle, glimmer and reflection danced, and all the more charmingly as night fell. In the early days the gas lighting, whose illumination was an uneven flickering, cast a sparkly sheen over everything. In the arcades, their historian Walter Benjamin claimed, ‘falser colours are possible’, and everything is doused in a special ‘glaucous gleam’, which is reminiscent of aquariums, as Friedrich Gerstäcker imagined in a fictional transposition and, after him, Aragon made so vivid in Paris Peasant. In Gerstäcker’s The Sunken City, the hero sees, to his amazement, that
with the gradual infusion of twilight, these undersea corridors just as gradually lit up by themselves. For everywhere in the bushes of coral and sponge were sitting broad-brimmed, glassy-looking medusas, which already at the outset had given off a weak,greenish phosphorescent light that quickly picked up strength at the approach of darkness and now was shining with great intensity.
The arcades are zones of special effects where optical illusions, tricks of the light and transformations readily occur. This is why the arcades appear so magical, but it also intimates something of their propensity to deception and delusion. The very magic of the space colludes with the commodity promises on sale.”

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Celestis offers space burials, with the ashes compacted in a capsule and sent into orbit (before re-entering) or fired to the moon or into deep space (for ever). That which is legally a ‘final deposition’ can be commodified further in an effort to afford a technologically guaranteed sublime.They also offer a star-naming service.   At the start of the twenty-first century, a Chicago company announced that it had created a new way to memorialize loved ones: by turning their charred remains into a gem. The ‘patent-pending’ LifeGem offers to press the cremated ashes of a lost one into a diamond. You can have your loved one with you whenever you choose, which is something that no other memorial product offers, remarks Greg Herro, LifeGem’s chief executive. ‘Nothing else quite offers that everlasting love.’ (…) ‘The proprietary LifeGem creation process creates diamonds from the true essence of our loved ones, the carbon.”

Synthetic Worlds: Nature, Art and the Chemical Industry by Esther Leslie

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Runge_M_80663

Der Bildungstrieb der Stoffe : veranschaulicht in selbstständig gewachsenen Bildern (Fortsetzung der Musterbilder)

by Runge, F. F., 1795-1867 (Includes 23 smaller chromatograms mounted on the title page surrounding the title, and 60 larger chromatograms mounted on 31 leaves. The chromatograms consist of concentric circles of color produced by applying a liquid chemical compound to filter paper.)