timespace coordinates: 1859 – 1862 London
The Aeronauts is a 2019 biographical adventure film directed by Tom Harper starring Felicity Jones, Eddie Redmayne, Himesh Patel and Tom Courtenay.
The film is based on an amalgam of the flights detailed in Richard Holmes‘ 2013 book Falling Upwards: How We Took to the Air. The most significant balloon flight depicted in The Aeronauts is based on the 5 September, 1862, flight of British aeronauts James Glaisher and Henry Coxwell whose coal gas filled balloon broke the world flight altitude record, reaching 9,000 to 11,000 m (30,000 to 36,000 ft). However, while Glaisher appears in the film, Coxwell has been replaced by Amelia, a fictional character. (actual individuals who comprise Amelia’s character include: Sophie Blanchard, the first woman to work as a professional balloonist, who became a celebrated aeronaut following her husband’s death. Felicity Jones has stated that Blanchard was the inspiration for her character. / Margaret Graham, a British aeronaut and entertainer. Amelia’s relationship with husband Pierre is chiefly based on Sophie Blanchard’s flights with husband Jean-Pierre Blanchard, while Pierre’s death is inspired by that of Thomas Harris on 25 May, 1824.) – historical accuracy – (wiki)
timespace coordinates: 2000’s Pontypool, Ontario
Pontypool is a 2008 Canadian horror film directed by Bruce McDonald and written by Tony Burgess, based on his novel Pontypool Changes Everything.
“Pontypool” was produced as both a motion picture, and as a radio play. Both versions of “Pontypool” were influenced by Orson Welles‘ infamous radio production of “The War of the Worlds.” The radio play was broadcast on the BBC’s Art & Culture section of their World Service website. It is approximately 58 minutes long, as opposed to the film’s running time of 95 minutes.
Writer Tony Burgess and director Bruce McDonald are intending to include more exposition for two planned sequels.
imdb / wiki / rottentomatoes / OST
The Most Honest Book About Climate Change Yet
As the world around us increases in technological complexity, our understanding of it diminishes. Underlying this trend is a single idea: the belief that our existence is understandable through computation, and more data is enough to help us build a better world.
In reality, we are lost in a sea of information, increasingly divided by fundamentalism, simplistic narratives, conspiracy theories, and post-factual politics. Meanwhile, those in power use our lack of understanding to further their own interests. Despite the apparent accessibility of information, we’re living in a new Dark Age.
From rogue financial systems to shopping algorithms, from artificial intelligence to state secrecy, we no longer understand how our world is governed or presented to us. The media is filled with unverifiable speculation, much of it generated by anonymous software, while companies dominate their employees through surveillance and the threat of automation.
In his brilliant new work, leading artist and writer James Bridle surveys the history of art, technology, and information systems, and reveals the dark clouds that gather over our dreams of the digital sublime. (VERSO)
man always makes it clear to himself: “You are using things which have the intention of not being penetrable.” 1180