1229 – Voyage of Time (2016 documentary)

Voyage of Time is a 2016 American IMAX documentary film written and directed by Terrence Malick. An exploration into our planetary past and a search for humanity’s place in the future. Malick has been working on the film for over forty years and it has been described by Malick himself as “one of my greatest dreams”. 

Voyage of Time was released in two versions: a forty-minute IMAX version with narration by Brad Pitt, and a 35-millimetre feature-length edition (also known as Voyage of Time: Life’s Journey) narrated by Cate Blanchett. (wiki)

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(…) 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.


On Nuclear Energy and the Occult Atom 

by Georg Unger, 1978 (online)

992 – Spider-Man: Into the Spider-Verse (2018)

MV5BMjMwNDkxMTgzOF5BMl5BanBnXkFtZTgwNTkwNTQ3NjM@._V1_Spider-Man: Into the Spider-Verse is a 2018 American computer-animated superhero film based on the Marvel Comics character Miles Morales / Spider-Man,

It is the first animated feature film in the Spider-Man franchise, and is set in a shared multiverse called the “Spider-Verse”, which has alternate universes. The film was directed by Bob PersichettiPeter Ramsey, and Rodney Rothman from a screenplay by Phil Lord and Rothman and a story by Lord. The film stars Shameik MooreJake JohnsonHailee SteinfeldMahershala AliBrian Tyree HenryLily TomlinLuna Lauren VelezJohn MulaneyKimiko GlennNicolas Cage, and Liev Schreiber. In Spider-Man: Into the Spider-Verse, Miles Morales becomes one of many Spider-Men as they team up to save New York City from Kingpin.

Lord and Miller wanted the film to feel like “you walked inside a comic book”, and were excited to tell the story in a way that the live-action films could not. Persichetti concurred, feeling that animation was the best medium with which to honor the style of the comics, allowing the production team to adapt 70-year-old techniques seen in comic artwork into the film’s visual language. Completing the animation for the film required up to 140 animators, the largest crew ever used by Sony Pictures Animation for a film to date.

l0qpctcgss911The CGI animation for the film was combined with “line work and painting and dots and all sorts of comic book techniques” to make it look like it was created by hand, which was described as “a living painting”. This was achieved by artists taking rendered frames from the CGI animators and working on top of them in 2D, with the goal of making every frame of the film “look like a comic panel”. Lord described this style of animation as “totally revolutionary”, and explained that the design combines the in-house style of Sony Pictures Animation with the “flavor” of comic artists such as Sara Pichelli (who co-created Miles Morales) and Robbi Rodriguez. To make it feel more like a comic book, it was animated without motion blur, and rather than using animation principles like squash and stretch they came up with substitute versions of them; “so that in texture and feel it felt different, but it still achieved the same goal — to either feel weight or anticipation or impact or things like that”.

The film’s directors all felt that the film would be one of the few that audiences actually “need” to watch in 3D due to the immersive nature of the animated world created, and the way that the hand-drawn animation elements created specifically for the film create a unique experience; Persichetti described this experience as a combination of the effects of an old-fashioned hand-drawn multiplane camera and a modern virtual reality environment. (read more)

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Sequel and spin-off

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