The Farthest : A Film Review

The Farthest


Director and Screenwriter Emer Reynolds.  Camera (color, widescreen, HD): Kate McCullough. Editor: Tony Cranstoun. Music: Ray Harman.  Duration 2hrs 1min.   Genre. Film feature Documentary.   Completed 2016. Ireland.   Rating PG.

A Crossing the Line production, in association with HHMI Tangled Bank Studios, The Irish Film Board/Bord Scannán Na héireann, in co-production with ZDF, in cooperation with Arte, BBC, RTE, PBS. Distributed by Abramorama. Producer: John Murray, Clare Stronge. Executive producers: John Rubin, Keith Potter, Sean B. Carroll, Dennis Liu.

The Farthest – Worlds away
How do you tell a complex story?  This film achieves it by following the most precious measure of all. Time. They do it chronologically.  From the launch within two weeks of each other in August 1977 to today forty years of knowledge has been accumulated giving us insights and tools needed to survive.  In providing an extraordinary and educational insight to the Voyager Missions, the Irish Writer, Director, Emer Reynolds propels the viewer through an array of adventures in space, planet to planet. It is the story of Voyager 1 which set off second to Voyager 2 and soon went by its slower less functional twin, into our Solar system, setting a course for the Planets in a mission, confined in planning, to visit with no stopover, Jupiter, Saturn but by the technical and intellectual thrust of the missions authors and controllers, succeeded in going on further with some deft reprogramming to Uranus and onward to the 4th gas planet Neptune.  Voyager 1 apparently is 12 billion miles away currently though you would need to check with NASA to be accurate.


Flight

Each journey on flight was a discovery beyond the NASA teams wildest expectations.  Even now in this film the achievement is under appreciated.  The team participants – descriptions, titles of their respective roles are displayed, are telling the story in screened interviews, talking heads with brains planet size, while often emoting humuorously with visually amazement of what in meant and now means. Eyes are popping in aghast of some telling a story.

On “The Farthest” Emer Reynolds explains: “We wanted to speak to a general audience, not just super science geeks like myself.”   It is enhanced by his structure, honed while writing it and the steady intuitive grace of Kate McCullough’s excellent cinematography.   As you might imagine the photography at cinema screen 4K interpolated, from 2K is stacked full of outstanding display of the NASA images. We see a computer – like Excel infant – table frequently and it looks  like a child’s bookmark.  The layout is 1. A box with a picture in it. Top tag header is VG1 and across Saturn or whichever it relates to. Beside that image 2. are two small boxes one on top of the other giving a ‘wav’ – radio wavelength file – of the incoming signals which are transported to the first box as images. This is rudimentary but this is what we or the boffins/brains in Building 102 gets back from that distant small object which punches out extrodinary visions which are packed full of information it will take years to analyse wth much future help expected via. AI.

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The Golden Record

Look and Learn

The last photographic signals we know that will come from Voyager are back here on earth. The vessel carries on with radio signals returning information of it going ever more distant at a speed of 10 miles per second through interstellar space. Going Farthest.  The science is laid out here in a layman terms but you require and are pulled into it by the – if you had been paying attention to the story so far – the what happens next fix.  Jeopardy exists everywhere.  In the beginning was a Government, in the beginning there was a budget. Then they had to recruit the best minds to build it from its concept, inception, a vessel with three enormous arms that would unfold once through the Asteroid belt, like a lotus flower exploring the sky and seeking its life from beneath in the mineral mix of its own body and payload – the Human representing the nutrients – to the light it engages with as energy for the Sun our own life source.

The vessel is like a brain and inside it is what is called the Golden Record. This gets a lot of airtime and coverage mainly due to the fact journalists and non-geeks love to know how Johnny Be Good will be accepted and appreciated in the far of extra-terrestrial zone Voyager ventures into.  It is literally a half speed long playing record with boxed alongside a stylus and IKEA kit diagram of operating instructions without words.   In order that we keep with the complexity, as the film continues, short paragraphs appear and extend, dissolve as something needs clarified in the written word. The big picture paragraphs the author has highlighted above the spoken word. When the unexplained happens language requires stillness and read. There are no excuses or reasons why this film cannot fill the void of knowledge of non-geeks as those who have been ask to put their own words to their part of it advance thoughts which have been gathere, been dissected, altered and polished in their heads for forty odd years.  It is full of stimulating beautiful phraseology and delivered with enormous gravitas while being so matter of fact about it which it clearly emphatically is.


I interrupt this message

To any alien species Voyager could seem like, it is just a container of entrails, maybe of a body the vessel itself might seem only the outer form of an inner wonder.   It is animal like though one scientist will not allow himself to anthropomorphise the Voyagers 1 and 2.   Maybe the ‘encountered’ will have destroyed Voyager 1 as it is taken to be itself alien.  Then in its coat tails along comes another. Voyager 2 which ‘they/it’ we haven’t been introduced properly, might be less antagonistic to Craft 2 and take it for what it is – a vessel of minerals constructed and assembled of the earths finest skills, put together back in 1977 symbolic of our progress since inhabiting the earth.   The Golden Record is an ambiguous pictorial and written record. Not available through Amazon or other outlets.  It is unlikely it contains war or weaponry photos though one photograph is of a human stalking an animal with a spear.   No images of the Gamehunter slaying a tiger or Elephant form the back of a Land Rover Discovery or other SUV on their holidays.  Only one quote will go down here in this review – and only part – ‘if they even have heads!’ which obviously is regarding the unknown destiny.

The Golden Record is our message apparently of our place in the universe diagrammatically configured with the known universe laid out in a linear diagram.

It is this composition of Earths minerals and knowledge which will travel beyond our time and earths time into the interstellar universe of possibilities.  As the naysayers preceding Galileo/Copernicus’s theories may have had it, requiring modification of the Bible. (Galileo Galilei) 1564–1642, the Italian physicist only partially solved the solar systems behaviours. Voyager on the other hand could come to  the crunch as it hits a wall of termination and its progress it halted with the unknown on the other side multiples of billions, trillions, in a world away outside our Solar system.  Quantum physics tells us Neutrons pass through us and the globe is transmutable while the electron exchanges we only glimpse, possess us in our temporality.  They engage and construct us and we are each separate assemblies of their manifestations.

Much is given over in the film to the reasoning and compilation of this and many conjectures, as it is the missions task to learn and then inform of our limited time as a planet. 5 million years left!


Big energy

Voyagers power is tiny in comparison to the surrounding atmospheres.  The reach of its plutonium powered lights are on a trajectory taking it further than the 2 billion miles, 3 billion at Neptune, it has put between us and its current location. Outer outer space is where it has gone. That is known as the interstellar cosmos. As Galileo once redefined our vision, so this tiny Voyager full of the modern technology available in April 1977, is on a mysterious journey.  It is the mysterious traveller those wonderkids of the seventies thought would provide new possibilities they Part imagined and described as of the infinite kind. The achievement went to the boundaries of their dreams and beyond their expectations of its capacity to enlighten.  Light is emitted from the battery but the darkness it enters is dense and un-encountered and it no longer is live.
Part of the understanding developed with Big Bang theory is that everything has Big energy (dark matter) passing through it.  Neutrons bouncing through us and everything else. The darkness of space is an energy unknown but ultimately our survival is reliant – other than the human self-destruct button of climate and a habitable world being activated – appears as a possibility of being in reach of accessing its mystery.

Voyager is this composition of Earths minerals and knowledge which will travel beyond our time and earths time into the universe of possibilities.  All 735kg approx of it.

Its progress if not halted with the unknown on the other side multiples of billions, trillions, of a world away outside our universe it could inform again.  The intuition of it recalibratingbis already charted.  For humans to conceptualists the earth there has been scientists such as the late, unique and contributing scientist, Carl Sagan.   His son is a frequent visitor and contributor to the story telling.  His contexturalisation of what we see is the most convincing made and does not tolerate high blown speculation.

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Something’s are beyond us

The scientists insist frequently that the Voyagers will be the only record of us beyond our extinction.  They have set up an experiment to find out the composition of the nearest gas planets and then find themselves looking at the bigger philosophical questions to fill the outskirts of their mind.  The talk of sling shots, meaning mathematical continuance of the voyage, was decided upon by careful planning.  Each trajectory is explained in detail with never imaged results we can access through this film.  Yet it is on to the next discovery.  Each scientist explains and though the press conferences at each ‘staging’ post for public consumption is populated it seems, by mainly if not exclusively, men whereas the imbalance is treated by Emer Reynolds in the inclusion of very well informed women whose life work this also is.  Imagining Science is an institute contributing and currently relaying information openly about the mission and while the journey goes on the small in the big gets smaller as more miles are travelled.

There is a juncture when the Voyager team all turn to the Challenger Mission. On January 28, 1986 the space shuttle Challenger exploded shortly after take-off and killed seven astronauts.  It was the 25th shuttle launch since NASA started service in 1981. For the first time a teacher was a member of the crew. Christa McAuliffe had won a contest against thousands of other teachers. When they speak of it and Voyager is without that human element, the scientist loose their capacity for coherent language, one for example who can’t think straight, said of TV coverage, ‘replaying the event over and over again repeatedly.’
The Voyager mission was constructed by Caltech Engineering and Applied Science Department of Aerospace (GALCIT) with the context of origami a filed attribute. Based in Pasadena California – where two weeks ago the indomitable and beautiful human in her 84th year, Julie Newar attended her Catcon 2017 ahead of her birthday – as sublime as ever. She never made it as an image onto the spacecraft so remains hidden. That is the history post Homers Odyssey of time travel with a return in mind of a feline leveller of our naivety played for laughs and adventure escapism. After lift off and landing on the moon another generation of escape was projected onto screens but none so realistic or measured as what this film documentary delivers, even if it is only on the flat fourth wall.


Time flies

This object, as google will tell you, is The Voyager spacecraft weight, including hydrazine, at launch was 815 kg or about 1797 pounds. It was almost the weight and size of a sub-compact car. The current approximate weight of Voyager 1 is 733 kg and Voyager 2 is 735 kg. This was launched with the computer power of a car key fob and before the internet on which you can see the stars projected to your LED lit screen form NASAs data.

On the Golden Record their is one side of music.   A collection made within six weeks of launch comprises recordings from such diverse places as Zaire, India, Mexico, China, Japan, and an Indian raga from native America one of many. On the space shuttle set up using decommissioned ballistic missiles, the film shows the words United States of America as a tiered advert for earth consumption. After the asteroid belt this is thankfully gone.  Maybe a small Stars and Stripes lurks on the body of the craft. A message might have come back – What does United mean? – otherwise.

Voyager has a brain and is minded to correct anomalies. When perplexed at its own behaviors it goes back to the manual, the data programmed within it which has failsafes and parameters and extraneous what devices built in. It is more reliable than our own manual the Bible and contains only logical prognosis. Metaphor is out. By doing a reset it has survived numerous times. When launched it literally had birth pains as it – didn’t enter the world but entered space. If you imagine sitting on the outside of Voyager what you would se would be changing infinitely. If you looked then at what you were sitting on as a reference point it would be the familiar and static. The spacecraft itself and its unavoidable familiarity. Space cannot be weighed and densities are gravitational forces we cannot see or gauge in space yet Voyager is clean and clear of collision simply because of the unlikelihood of it ever colliding with any ‘thing’. What is realisable is that in, as one scientist puts it the chances of a collision are fifty years of a billion years, the chance of collision amounts to just that. Latin speaks otherwise. Tempus Edac Rerum – Time devours all things.

    
Planets discovery

The revelations from incoming data has put into visual context and most ‘gratifyingly’ reaffirms that all our known minerals exist in space. What is also very apparent is that they obey in kind, gravitational forces. In two for example : The Great Red Spot is a persistent zone of high pressure, producing an anticyclonic storm on the planet Jupiter, 22° south of the equator. It has been continuously observed for 187 years, since 1830. Also it conforms to a circular gravitas as an amorphous cloud of greater density as does the other clear example, making it no coincidence, the Great White Spot, also known as Great White Oval, on Saturn, named by analogy to Jupiter’s Great Red Spot, are periodic storms that are large enough to be visible by telescope from Earth by their characteristic white appearance. The spots can be several thousands of kilometers wide.
The Cassini orbiter was able to track the 2010-2011 instance of the storm, also known as the Northern Electrostatic Disturbance because of an increase in radio and plasma interference, or the Great Springtime Storm. What is read into that is our connectivity and when Carl Sagan asked as Voyager 1 was about to go beyond – to + 0.00.00 our time, and penetrate the globule which surrounds us and every gas planet a request to turn the camera around and position the spacecraft in a location to look back at the entire distance of its journey. When it was initially rejected by the Jet Propulsion Agency for one, he went as far as he could to achieve that and did. What is shown is extremely and of the most significant image probably ever taken. A selfie of ourselves as a planet n space. Then it left the globe of atmosphere the our universe exists in and continued as a straight line not like a mouse, (very short sighted, see Nature.com Through the eyes of a mouse) Voyager goes blind into space without hugging the skirting around the big room, it carries on with faith in the humanity that propelled it in a straight unfettered and unending line. When it reaches a border and is asked Where do you think your going? it will have some time working out how to to reply.


Emer Reynolds.  Juis sui en RockStar Writer Director.

Conclusion ####4

Space is spectacular and it is Voyager 1- 2 that conveys new discoveries of that wonder, all from the vessels trailing through space at 10 miles per second.  Seeing this enormous subject in a Cinema adds a vital level of understanding.  Even then the images are only shorthand for reality.  Only around 735 kg, these craft are continuing now, on their own, with 2 trailing way behind. As there is no clue so far, movie discusses, we don’t know if we are ‘alone’ in the universe and if anything exists in a time experience – back to that great utterance – ‘even if they have heads’ in the pathway of it on a fantastic journey which is described beautifully with an easy to follow chronological narrative.  It is told by the people who put the mission together and those who maintain contact and analysis of it speaking back to us.   I described how the data arrives, the grid ‘Excel’ like boxes and the narrative it tells is from simple zeros and ones interpreted by spectroscopes and out come images in astounding detail of the composition of the Gas planets it has encountered.  The majesty of a human constructed instrument, which if alien life encountered seems now more like a foreign object – an animal with eyes, the cameras tilting 26 and 200mm lenses on their arm, the plutonium charger which is the heartbeat and energy source and the strange antenna which talks back to the folk at home.

It is a spectacularly effective insight to our world and Solar system.

The film is relaying – ‘special effects’ get a credit – projections of space travel but the vast majority of the film involves telling the story through contemporaneous images of the assembly, launch, public updates and the teams descriptions of what it all means at least potentially.   The special effects utilised – it is so smooth an edit – are where I think the fly by digitally generated flights, which come in over the top of the frame and sail sublimely into an ocean of stars with the Voyager seen clearly with its unmoving unshifting composite self , travelling as that mysterious traveller obedient to its final instruction in finding, orbiting, the planets, instructed from within, then setting a new course to another, to the point where it goes beyond the globe protection of the planet Neptune.  That point is where all presence of it diminishes.  It is there now in another vast space journeying in a straight line for possibly (in terms of) billions of years.   The other factor informing theory is the formation of this expanding universe.  The talk of black holes at the formation of ‘multi-verse’ cosmos has an ‘event horizon’ commonly interpreted – at the boundary around a black hole on and within which no matter or radiation can escape.  Where the beginning and end is is unknown and even the question of them being the same point is what the film explores as a philosophical aspect of these discoveries.  For thousands of years the conjectures have been gathered by Astrologers informing our lives.  I have put a footnote which I hope expresses a nod to the ancient mariners of the Stars who stimulated all these participates interest in their own valued exploration.

Our knowledge is being acquired at a very fast rate. One hundred years of information and discovery in the 20th century is equivalent to the acquisition of the same quantity/qualities ty of discoveries made in as little as 12 years or even less. That is to say what was learnt in 100 years is now learnt in a tenth of that period and that is also being compressed.  The time it takes to discover things is itself reaching an apogee where we will be funtioning through reasoning taught via. artificial intelligence.

The next world altering discovery is very close.

The film has a dedication in the closing titles to Rhea Strong Fanning.

John Graham

31 August 2017

 

On at Queens Film Theatre from Friday 1 September through to and including Thursday 14 September 2017.  There are exceptions when there will be no screening on either Sunday 10, Tuesday 12, Wednesday 13.

The 6.00pm screening on Mon 4 Sept will be followed by a Q&A with director Emer Reynolds.

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Astrology

Mankind has come a long way. For more than two thousand years the sky has been laid out in a Planisphere of the heavens. The Planets names themselves speak to us in those radiant perpetual homilies stimulating inspiration beyond us. The sky is in mankinds eye a cast of astrological myths laid out in constellations. I have extracted (from The Witness of the Stars E.W.Bullinger) the interpretation given in the astrologers from Albumazer, Ulugh Beigh whose Arab astronomy laid out the principality taken on by Greek astronomers and more modern sciences.

The Sign Leo. (The Lion) note. The Lion is a maternal animal.  Messiahs consummated triumph.

Here we come to the end of the circle. We began with Virgo,(1) and we end with Leo. Belfast one who has followed our interpretation can doubt that we have here the solving of the Riddle of the Sphinx. For its Head is Virgo and its Tail is Leo!
In Leo we reach the end of the revelation as inspired in the word of God; and it is the end as written in Hea the heavens.

Bailly (Astronomy) says, “The Zodiac must have first divided when the Sun at the first Summer solstice was in the first (degree) Virgo, where the woman mans head joins the Lions tail”.

(1) Virgo. The Sign Virgo. (Coma as it is also called – is referred to in some texts as the coming of Jesus under the Star of Bethlehem.)  The Promised Seed of the the woman.

Here is the commencement of all prophecy in Gen. iii 15, spoken to the serpent :-” I will put enmity between thee and the woman, and between thy seed and her seed : it shall bruise thy head, and thou shall bruise His heel”” …….. it lies at the root of all the ancient traditions and mythologies, which are simply the perversion of corruption of primitive truth. Virgo is represented as a woman with a branch in her right hand , and some ears of corn in her left hand. Thus giving a two fold testimony of the Coming One.

Everyone has a piece of the Stars and are in their own constellation.

So it’s apparent the Stars as first seen and interpreted were based on quasi religious affiliation. With superstitious though nevertheless philosophically imaginative and therefore believable to the ‘faithful’ followers of Astronomy the guides are still with us as is the mystery.

JG Sept. 2017

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Raw : A Film Review


Raw 

Director Julia Ducournau Writer Julia Ducournau Stars Garance Marillier, Ella Rumpf, Rabah Nait Oufella, Laurent Lucas, Joana Preiss, Bouli Lanners, Marion Vernoux.
Jean-Louis Sbille as the professor  Rating 18. Duration 1h 39m Genres Drama, Horror.


Probing the flesh

Raw is War in tooth and claw.  Red is cinemas greatest asset in showing in glorious technicolor our raw emotions that inhabit our conscious.  From the premise that within us is a primordial guilt and we seek revenge for the ills of our ancient past back to the dawn of existence we have been fascinated with the bloodlust of others and sometimes ourselves.  The driven kind features heavily and their appetite is satiated in a campus of post-revolutionary Europe.  In a University campus that of L’Universite de Liege, filmed over one summer, writer, Director, Julia Ducournau, in her debut feature film sees humans in a structure of hierarchy.  Garance Marillier playing Justine is dropped of by her affluent parents in a sprawling University campus.  They are past students of the same place and are perhaps aware of what lies ahead in more senses than we are initially lead to believe.   I couldn’t help thinking if they were in part authors or this rite of passage, being from the output from ’68, for their virginal daughter.  In a horrific incestuousness leading all back to the beginning.  Already at the University is sister Alexia (Ella Rumpf) a year ahead.


Journey to self

At the opening frames which we go back to later there is a similar opening to many films.  A open large perspective of a rural connection of a tree lined road seen anywhere in Europe.  There occurs an unexplained event. Cut to the car wth the dog lapping the cheeks of the open eyed Justine whose move from childhood to adulthood is officially stamped.  No longer at home she is on an adventure called life.  This is an enclosed tale of rule making and conformity layered with the very present hormonal discharges of Justines sexuality.  Into this is added the self image and her beliefs which are more or less intact.  As a vegetarian she is setting herself out as having a love of animals which is taken to the point of her enrollment and the family belonging to an ethic of helping all creatures on this earth.

In this environment it is easy to see the disgust of meat eating and it is but not questioned here, a method of exploring whether we are indeed carnivores or as the ancient history will tell us after the ‘original’ sin we became sinful in killing and eating animals.  The proteins of other sources being accommodated only by locational advantage.  The China Study is a book which shows us how to remove meat as a protein source and also shows us how location, China can support a food structure in balance while others hunt and fish plainly because they have an abundance of wild animals, rivers, forests in which flight is not sufficient to save birds, nor speed a reason to escape an arrow.  The Masai will eat from nomadic cattle by slicing off a piece of hind while they walk, covering the wound with mud and eating it raw.  Their choice is confined to an existence without much plant growth.  So how is it God our creator has it in mind meat is a legitimate source of our diet.


Outside life

Justine is confronted by the meat eating fraternity without the family protection.  As a set up we see the family enroute at a roadside cafeteria and out of her ‘veggie’ choice – her parents have moved onto meat eating – probably by obliging the instincts to masticate on flesh cooked into unchained protein as a demonstration of the common predication for eating meat.  In the school of Veterinary Studies there is a ritual and it is a basic condensing of human rules and conformity writ large.  In it the Upper year students in the Dead of Night ambush the entire intake and involve them in a series of initiation subjections which are both a release and an imprisonment.  Mindsare pliable and Alex, Justines sister is already into the camp of the meat eater.  This is despite her own beliefs and she suppresses what Justine still holds as a basic right to decide what she puts inside her body.  

The initiation I won’t describe as too many writers on this film have drawn out all the little details which make it a full on exploration of human instincts.  First time Director at 33 when she made it (at some critics take a youthful age apparently though it is not an age thing, directing chops!) is giving this story an arch violently expressive with some tremendous scenes setting out with accomplished subtlety at times – in the Student clinic for instance there is a great piece of observational writing, then there is the location itself with its optimistic, bunker like, confrontational raw materials of architecture, stubborn forms plain and as the film afore mentioned – ‘What you see is what you get’.  Julia Ducournau has this locked down into Form follows function in excruciating bodily functional detail.  In Train to Busan which is a brilliant zombie movie from a South Korea from last year I took it on to seek more references to the human condition which explored along very similar lines what were its driving forces.  I found it to be the backward launch of the human, back through their mothers, birth a journey to ancient loss.  That read is found by putting into the top right –  search box – Train to Busan. http://wp.me/p2R05n-Hh


Sexual appetite

There are scenes which see Justines sexuality spawn a million seeds.  The male leads in the film are similarly stuck by the new circumstances they find themselves in and their preconceptions are not so much challenged as replaced by alternatives.  Love stories, strange as it may seem develop.  Within this – it is not – mash up – there are several failed relationships and new ones. All concerned with orgasm lust which draws into the equation love and ritualized belongin, hurt and betrayal.  This is another strand not obvious at first but it’s very much there.  From what I’ve so far implied and set out strands of story direction I’ve gotten onboard with the liking community for this film.  At times it will irritate the chops off you, make you cringe at the banality of some use of others tried and rested cinema scoping – the entry frames are so often followed it is tedious to see them range into view again.  I won’t name them but I do have favorites of this intro and they are totally memorable putting this so far below in the lower deck it’s below the plimsol line. Annoying.  There are other beautiful scenes held flowingly with one or two faults, camera hungry playacting, like in the first dance/techno sequence.  The music is by Williams, (son of John?) and it once becomes too much as it is used to ratchet up a particular moment.  It could have blurred out sound or disfunctional sound but it chose the conformity.


Progression towards …. 

The story develops over one year at University and takes on a form utilizing the group without elder supervision other than a few Professorial types who are strangely not equipped or bothered to set anything other than experiments and pick up on grammatical error while also giving Justine further concerns about her outstanding alacrity, skills, understanding of veterinary techniques.  Unlike her  fellow rookies who begin to detest her or at least some of them.  Alex and Justine become strongly connected and share similar demons.  They get into extreme bother and trouble, inviting the entire college to come down on them in their interactions with them.  It keeps ramping up in its violence and portray of the communal internalization while setting out no answers or analysis of the behavior.  Critics so far have placed it in boxes to suit their view and none inclauding myself were able to fix it in a frame of mutual understanding.

 Doctors daughter Julia Ducournau!

Conclusion ****4

Julia Ducournau has composed an odyssey through a young woman’s journey from childhood to adult and survival.  She has used a very able crew and set of young actors who fail nowhere in convincing us of the, beyond recognition, behaviors they portray while putting more than many young actors should in order to be faithful to the task.  The experience must itself been ground breaking on the minds of these young people and Julia Ducournau has probably learnt through it of the many potential pitfalls and erroneous steps, some life changing that enter people’s lives.  The ground breaking element nearly stretches it out to become a genre free film though it is not long enough or dig into the medical, psychological straits of the human pathway.  It is gloriously rich in detail, too much in many people’s minds and plays the willfulness and inevitable harm inflicted mentally on the sisters as in faith.  Julia Ducournau holds the characters hands throughout without being exploitative.  It crosses many lines but being Cinema it’s not a dilemma for anyone. Of course there is revulsion and sickening components but that’s Cinema story telling unleashed with a courageously minded group.

John Graham

27 April 2017

Belfast

 

  

On at Queens Film Theatre from Friday 28 April 2017 and on general release.

Containment : A Film Review


Containment

Just this past week the Hinckley Point, Somerset, Nuclear reactor was given the go-ahead on behalf of the United Kingdom population, by Theresa May, Prime Minister, following a false standoff with Chinese and French providers since her elevation internally by a group of her party seeing her fit to govern us, a new found ability to take decisions. This is a decision which should never have been made to be taken. With the daily occurrence advances in battery technology and solar power retention and storage from that huge object we know as the Sun, it is within a very short time very likely we will individually at our homes or collective of homes have our own power stations. Nano transformation of energy which allied to similar advances in motive power shall also have an effect of reducing carbon output. Berlin is now a zero carbon city for example so where are the British in this revolution?

Documentary

Containment A Film made in 2015 by Directors, Peter Galston and Robb Moss. It is film documentary on Nuclear waste production and storage. The USA/Japan co-production brings forward the extent of Nuclear waste currently abroad in what is basically a state of deadly toxic limbo.

Getting to screen it.

Interested in bringing Containment to your community, conference, festival or campus? Share your details here at containmentmovie.com or email us (them!) at containment@filmsprout.org, and we’ll (they’ll!) be in touch right away!


Framework
The first frames show Fukishima and a woman walking alone seen by the cameraman/woman surveying the limbo state this empty city has become. It alone needs a containment scenario this film addresses elsewhere in the Art graphic animation discourse for a place in the USA. New Mexico. When did the first scenario arise?

It begins by pointing to the Cold war period after the second word war, when nuclear warheads were accumulated and agreements placed to disarm these weapons of destruction by putting them into vast radioactive ‘landfill’ sites comprising mainly a site in New Mexico whose irrational acceptance as a location for a nuclear waste dump defies logic. The terrain was chosen primarily because of its geological fingerprint. It was a location with a vast unique strata of salt which millennia had proven stable and a medium in which a frozen ‘time’ capsule could be maintained. It had the hallmarks of having the capacity of being an enevelope for storing the radioactive sludge. However the bunds and lagoons created on top of it were and still are reservoirs of storage for a hundred million gallons of toxic waste. This means of storage is but one part of the cycle which includes other non-associated methods which involve inward shipping of nuclear waste in vessels – carefully checked when transport protection is removed for leaks. Each vessel is thoroughly x-rayed for casing integrity. Watching the magic gieger-counter being waved by an operative circling each container begged the question had they replaced the batteries in it. From this part of the process it then went sub-strata via. a long passage of tunnels by vehicle to hopefully it’s final resting place and presumably back filled at some juncture. Other processes included pouring liquid nuclear waste via. robotic arms manually operated into glass containers. Giant Kindle jars of high tech composition presumably.


The only problem is they remain mostly in their last location since a shut-down after a freak accident when a material failure allowed leakage to occur from a container – it’s past x-Ray and scrutiny failing to identify ahead of time any possible flaws or defects – which in turn jeopardized operatives and future containment activities. The decision was to put the entire site under lockdown and begin a clean up operation estimated at the time to be in the region of $300 million dollars or was that billions? In any event nowhere on earth is capable of storing the material waste China America Middle Eastern and European countermoves have plans to accumulate never mind that already stockpiled and in state of transition limbo.


Deep concerns

The film is concerned with not only the accumulation as well as a key part the Fukushima meltdown catastrophe which we are shown in its raw elemental state as a no-go locality but with the figurative signaling beyond our times into periods frankly inconceivable, ten thousand years hence and multiplications thereof. The means of alerting ‘others’ unaware of the backstory our history are explored in real time exercise a of futurist projections. Cockamamie American pawn brokering is one way of describing it. Put it in as a trade and see if any idiot will buy it.


The film becomes cartoon depictions crudely fascinatingly naive ventures of our humanity expressed as a vent diagram and delineation of rogue versus alien versus well the ordinary Joe or Jane whose curiosity got the better of them. Pictorial semaphore signals as used by pirates might have easily substituted or maritime signals heralded by symmetry as unnatural presence of danger put in place by those previously occupying earth. Ie. Humans.


Other reviews.

How do you plan 10,000 years in advance? Containment asks whether we are adequately caring for future generations with current storage methods for radioactive waste. A visit to the nuclear ghost towns of Fukushima shows what will happen if we fail.

—Karl Mathiesen, The Guardian

Peter Galison and Robb Moss remind us of the lingering threat of radioactive waste. What to do with it? How can we warn people centuries in the future about the danger of waste disposal sites? With inventive animation and incisive reporting, Moss and Galison aren’t going to make it any easier to sleep at night.

—Peter Keough, The Boston Globe

The film…attempts to articulate the beautiful and complicated problem of how to render the future a part of the present. It offers glimpses of a future beyond our societal imagination…and goes beyond ordinary documentary filmmaking to bring forward this future image into the minds and sensibilities of its viewers. It is in attempting this communication with the audience beyond the here and now that the film has its greatest success.

—Zoe Jones, Spook Magazine

I admire Containment for its zealous questioning of a situation that is ignored, misunderstood, and obviously—thanks in part to this film—urgent. I’ve been thinking about 10,000 years from now ever since.

—Erin Trahan, WBUR’s The ARTery and The Independent Magazine

The way we tell stories about who we are, what we did and how we considered the consequences of our actions is moving and profound in Containment, told with investigative care, sadness, fury and poetry.

—Andrew Lattimer, heyuguys.com


Three titles making their world premieres at Full Frame garnered plenty of buzz…Containment, Peter Galison and Robb Moss’ latest documentary, also taps into another controversy magnet—nuclear power. The directing duo aren’t strangers to hot-button topics. Their 2008 Sundance hit Secrecy chronicled the massive efforts by the U.S. government to classify data from the general population. Containment, about the scientific, moral and philosophical problems that surround the disposition of nuclear waste, is sure to spark a national debate.

—Addie Morfoot, Variety

Alarmingly frank but refreshingly optimistic, Containment tells a great many inconvenient truths but its coda assures us that all is not lost. The future will come, but we will endure.

—Phil W. Bayles, oneroomwithaview.com

Where did I see it? – this list shows its progress.

Pittsburgh Filmmakers and Remembering Hiroshima, Imagining Peace, Pittsburgh, PA — August 5, 2016

Pilgrim Legislative Advisory Coalition, Jones River Landing, Kingston, MA — August 20, 2016

CBK Groningen, Groningen, Netherlands — September 3–November 27, 2016

Virginia Tech Research Center, Arlington, VA — September 8, 2016

Case Western Reserve University, Physics Department Colloquium, Cleveland, OH — September 15, 2016

Queen’s Film Theatre, Belfast, UK — September 17, 2016

Department of History, Brown University, Providence, RI — September 21, 2016

Willard Straight Theatre, Cornell Cinema, Ithaca, NY — September 27, 2016


Conclusion ###3

A loose three is attributed to this as the central theme of Containment is heavily here approached using an Art based form of narrative.  This in itself is a very lame element.  It practically philosophies about different advanced and abstract notions.  It focuses while doing this on the processes involved in capture storage and transportation to a location with interviews, protocols of public meetings and the personalities in ‘local’ politics making huge global impacting decisions.  Maybe the highest rank of Government was County Official.  No Presidential, No Congressman, No State Govenor is addressed.  Why not?  Didn’t want to speak? Unsuprisingly? So instead why not make cartoon versions of supposed dialogue and their answers to the Containment question so artistically examined?  Except the artistic endeavors are in my mind not even at the level of a third year student of Architecture whose grasp would no doubt evaluate the obvious pros-cons of symbolic gestural, linguistic, extra-terrestrial scenarios and much more as established throughout mainstream sci-fi non-fictional examinations and the plethora of commentary overloading the Internet from one campus to the Daily News in Singapore or Daily Comet in New York.

Point Blank Failings

I am afraid it lets the fundamental differences of responsibility being attributed to the decisions made in Nations which ignore this Containment issue.  The commentary is not validated while a ‘Nuclear’ Authority speaking as a Police(woman) whose role oversaw protocols and practices came nowhere close to the target.  A question of where possible ‘dangers’ – the plain direction of the conversation marked out terrorism as a principle if not top concern, – got lamely tossed back as ‘Couldn’t possibly answer/speculate!’ kind of moderation the film should not even allow as any direction of investigative informative journalism.
Take a look at the website for additional and valuable source material as the film is only part of a projected discourse and is a beginning – as far as ‘multiple locations’ arise by example through the stark reality of Fukishima.  Mr Nissan is interesting and in a semi-comatose state as his life is Groundhog Day – this is an insight in itself but only, only a miniscule part of what is required to be examined and dealt with by Governments and activists post UN interventions which are of a Human Disater reactive kind not fundamentally addressing ongoing Nuclear exploitation for Billions of dollars/yen/euros of Business.  It’s about the money stupid.
John Graham

21 September 2016

Belfast.

Retina Rejuvenated: Health

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Optogenetics
 (from Greek optikós, meaning “seen, visible”) is a biological technique which involves the use of light to control cells in living tissue, typically neurons, that have been genetically modified to express light-sensitive ion channels.

Here is an astonishing insight from The Expotential Investor whose interests are frequently science based and explore the direction of travel in pioneering research and hopefully advances of universal benefit.

Here goes with an example text. I thought I should share it with you.  The words in italics are the authors and are a a Money Week subscribed free e-mail to which you can subscribe. See footer.

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Exponential Investor
A step into the unknown…

24 February 2016

By Nick O’Connor

Deep breaths everyone.
In today’s Exponential Investor we’re going to take a step into the unknown – and explore an emerging branch of science with vast potential (both for the world and for us as investors). 

It’s called optogenetics. 

Never heard of it? 

Don’t worry. By the end of today’s letter you’ll not only know what it is – you’ll see why it’s causing such a stir in the scientific and medical communities and why March could be a breakout month for this hitherto unknown branch of science.
Let’s dive straight in.

The convergence

Our story starts, rather strangely, with the study of algae. 
The fact that algae give off light has been known for thousands of years. As Charles Darwin put in his diary while travelling aboard the HMS Beagle:
The sea presented a wonderful and most beautiful spectacle. There was a fresh breeze, and every part of the surface, which during the day is seen as foam, now glowed with a pale light… As far as the eye reached, the crest of every wave was bright, and the sky above the horizon, from the reflected glare of these vivid flames, was not so utterly obscure, as over the rest of the heavens.
That was nearly two centuries ago. Yet it’s only in the last hundred years or so that we’ve learnt how algae do this. 
But it wasn’t until the 1970s that we made a breakthrough that led to the birth of optogenetics. 
The details of the discovery involve the kind of science that makes my brain ache, so I’ll give you the short version. Scientists found that certain algae contain proteins that respond directly to a light source. This enables them to detect and move toward light. 
Put simply, we found that light itself can be the catalyst for cellular change, rather than a chemical reaction. That opened the door to the idea of using light as a kind of wireless transmitter to bring about biological change.
But it wasn’t until this idea converged with the advent of genetic therapy that the field of optogenetics was born.
See, genetic therapy allows us to transplant the gene responsible for responding to light as a stimulus in algae into other living things (first animals like mice, and more recently humans – we’ll get to that in a second). 
This is all a rather long winded way of explaining what optogenetics is, which is essentially modifying genes so that they’re responsive to light. That may not sound like a big deal. But the implications are immense. 
It means we can use light – or certain frequencies of it – as a catalyst for biological change in the human body. 
That goes far beyond making your skin glow when you shine a light on it. 
Take, for instance, your brain.
Making a change inside the human brain is complex and dangerous. For a long time it involved using electrodes to trigger cellular change. But that wasn’t precise enough for many procedures. According to a special report on optogenetics by Nature Methods:
In 1979 Francis Crick suggested that the major challenge facing neuroscience was the need to control one type of cell in the brain while leaving others unaltered. As electrodes cannot be used to precisely target defined cells and drugs act much too slowly, Crick later speculated that light might have the properties to serve as a control tool, but at the time neuroscientists knew of no clear strategy to make specific cells responsive to light.
Optogenetics is the solution to that problem. 
It means we can make very precise changes to cells within the brain by using light as a catalyst. For example, in one experiment at Stanford University, researchers found that they could switch off the sensation of fear in mice by shooting light through a fiber optic cable at specific cells in their brains.
Put aside whether it’s useful to switch fear off, for a second, and just think about that as a scientific achievement. It means we can manipulate complex cellular actions wirelessly, using light as the sole trigger. 
Which, as you can imagine, has made optogenetics one of the hottest emerging technologies of the last decade. For a graphic illustration of that, take a look at the explosion of uses of the term in scientific literature below: 

Source: Optogenetics by Keith Deisseroth, Nature Methods

There are myriad ways in which the field of optogenetics is developing. I’ll return to the subject again in the future and look at some of them. But before I leave you, I wanted to highlight one particular optogenetic study likely to make headlines in the next month or so. 
Teaching the blind to see

You see, one particular use of optogenetics could be to restore the sight of blind people.

In fact, the very first human test of optogenetics involves a team of researchers in Texas transplanting the DNA of light sensitive algae into legally blind patients. The idea is to use the light entering the eye naturally to trigger a response within nerve cells and send electronic signals to the brain. MIT Technology Review has the story:
The study, sponsored by a startup called RetroSense Therapeutics, of Ann Arbor, Michigan, is expected to be the first human test of optogenetics, a technology developed in neuroscience labs that uses a combination of gene therapy and light to precisely control nerve cells.
The trial, to be carried out by doctors at the Retina Foundation of the Southwest, will involve as many as 15 patients with retinitis pigmentosa, a degenerative disease in which the specialized light-sensitive photoreceptor cells in the eye die, slowly causing blindness. The aim of the treatment is to engineer the DNA of different cells in the retina, called ganglion cells, so that they can respond to light instead, firing off signals to the brain.
According to reports, that trial should get under way very soon. The results are expected to be “a gold mine” for future studies, according to neuroscientist Antonello Bonci. 
I’ll keep an eye out for the results. But in the meantime, keep a lookout for any other optogenetic breakthroughs. This is an emerging new discipline with vast potential. There are likely to be some major opportunities – and ultimately a lot of money – to be made as it matures.
Just remember – you heard it here first!

All the best, 

Nick O’Connor

Publisher, Exponential Investor


P.S. We haven’t talked much about genetics and biotechnology much yet in Exponential Investor. But we’ll be ramping up our coverage a lot in the coming weeks and months – there’s a huge amount of potential here. If there’s any particular topic you think is worth us looking at, just get in touch with me at nick@moneyweek.com.

 Exponential Investor is published by MoneyWeek Research Limited

MoneyWeek Research Ltd 

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This is the Stanford University USA research paper synopsis.

   
    
 
John Graham

24 February 2016

Belfast

Sound as Music : Health

Sound as Noise
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Musician charity Help Musicians headed this discussion forum. Formed a panel for a discussion on the need for Musicians and Audiences to be aware of the potential risks to their hearing if disregarding the levels of sound they expose themselves to.  It was a part of the Outreach programme Output which on Thursday last showcased local musicians as well as introducing audiences and musicians to industry professionals whose experience could bring to bear new ideas and experiences on several levels.

The title of the event was long-winded so I prefer to use the core strategy of HelpMusicians which is the leading charity in the field headed by the panel chair and representing his charity, Richard Robinson, next is Shauna Tohill of the band Ruse. Then Will Fenton a sound engineer and lecturer based in Surrey. Then last but not least a Record Produce and Band Manager Declan Legge from the provinces Big Studios. Some further contact details follow at the completion of this post.  
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Day’s Events’

For the most part it involved a day for several venues to set up a platform, stage for the 4 acts they were to host in the ‘what the musicians called’ the fun part.  Each of 4 would do a stint giving it there best shot.

At Altier & Echo it was to include Ruse who also recorded a live track in the afternoon for Radio Ulsters Arts Show.           Also in the duos busy day was a member, Shauna  Tohill participating in the panel on Hearing loss at the afternoon session in the Oh Yeah Centre in Gordon Street.
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https://rewsmusic1.wordpress.com/
See http://www.pledgemusic.com
Damage across the board 

The panel comprised the aforementioned with a review of where the music industry is with protection from damaging sound levels experienced across many platforms.  From in ear buds with which a later chooses to play at very high decibels into their own ear canals music which if sustained for even short periods of twenty or thirty minutes will cause irreprible damage. A survey of musicians carried out in a widespread comprehensive GB study found that 78% of Musicians had found themselves suffering hearing loss and damage.

First of was a description of the levels, the decibel range at which sound becomes audible and how it is delivered. At normal conversation levels we are at around forty to fifty decibels and in a microphone speech is delivered around seventy decibels and eighty is around city traffic levels. At concerts sound is delivered at around 120 decibels where the damaging levels kick in big time.  The Health and Safety laws are very obtuse and for industrial purposes mostly.  They range from noise in Children’s Nursery’s to Nuclear Fusion Plants.

Occurrences – The enjoyment of music comes not without its hazards and everyone must be made aware of them.

Latency is a word used in the context of hearing loss which I take to mean the accumulative effects lasting after the event and is in physiological terms in my mind the interval between stimulus and reaction.  The enjoyment of music comes not without its hazards and everyone must be made aware of them. There’s probably not an older musician around who will not confess to some hearing damage. It is not an occupational hazard but a preventable manageable entity as the discussion was to find out.

Panel Experiences and heads up 
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Richard Robinson of Help Musicians has been profoundly deaf, with no hearing since birth.  Nevertheless it has not stopped him from being an active band member with the aid of technology.  His history will unfold on the charities website no doubt.  He could notice other band members experiences and the loss of hearing he reckoned came at around 6 hertz frequencies upwards. He was able to advise that the conventional orange builders earplugs are non discriminatory as they allow frequencies through and dampen others meaning some damaging ones certainly will get through.  
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Will Fenton
Our hearing, it was pointed out by Will Fenton is not wholly dealt with by our ear functions but he noted if you excuse the pun (there might inadvertently be several – astonishingly we caught Declan Legge use the oft used phrase ‘some band members and sound engineers just like to whack it up to Eleven! It illustrated his stronger very valid point of which will follow) the bass notes come in through our bones chiefly through our flesh and muscle structures.  I found that astonishing.  It also explained why you feel the sound vibrating in you in some small room or large room resonating venues specially when blue or jazz modular ions literally flex their muscles.  

This is the bodily immersive state perhaps the sub-conscious seeks and is an auditory delight and immersive experience.  It is similar in a sense, those puns again, to the dance room venues where the whole body vibrates and endorphin rush, (not a pun – as a band they were rubbish to me) penetrated and bass creates a mind body electric experience.  The brain sending the electric stimuli to the brain at the root of consciousness in waves of directions pulsating memory responses back not everyone’s system in a cyclical trancelike deliverance. Euphoria is the word we all know and are blessed with at times. To be in the centre of a crowd away from the known expected forms of sound delivery are found resonances, puns again.  

Take for instance the type of song and singing at the Millenium Stadium on a Rugby match day and to be in the middle of the Welsh crowd surrounded by thousands of magical Welsh singing voices is a enthralling experience from top to toe.  There is nothing so instructive about sound delivery as it also fills the body in a 360 degree circle.  Or also the experience of being in a very accomplished choir whose sound is interspersed in ranges which are chiefly all of human origin.

Answers

Ear protection is being advanced for all noose environments and huge advances are seen with ear moulded hearing protection devices and utilized by top musicians.

There needs to be venue participation.  Open or closed performance has on occasion information such as decibel levels.  These are some times prominent and other times absent. The requirement to have levels displayed at high level even on the monitors the,selves seems a good way forward.  On the source in other words and the overall combined level not just the output from one set of monitors. 

The music sites need in my view an overall music level overseer. To each venue a Sound Marshall should be appointed with complete authority and responsibility for advising and ensuring the gig or event has fully identified its levels and capabilities in their (confined) space with them then adhering to the protocols. Warnings should be issued to audiences to be aware of their exposure times to sound as being their own responsibility and ‘this event will have a maximum level of #### over the duration of the concert #### hours. Please ensure rest times of around #### and #### between events.

Sound protectors.
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Here are some random products not endorsed by this website but showing just part of the various options.

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Check with suppliers what degree ear mould or headphone protection brings. Some in ear monitors may not be designed to remove all or most of external sound and delivery the bands/performers sound only. So,e may want some external sound as part of the audience reaction and the engineer is best placed to advise how this is achieved. It is not best achieved by having one ear on and one ear off!!!

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John Graham

22 September 2016

Belfast

The Survivalist : A Film Review

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Writer and Director Stephen Fingleton, 2015, Ire/UK, Cert. 18. Duration 108 mins.  Cast. Martin McCann, Mia Goth, Olwen Fouéré and small plot parts by Andrew Simpson and others.

Entering a Bleak New World

This film was seen with a following q/a with Director Stephen Fingleton, so I begin with an early insight. I had noticed the beginning which is a flashback was a desaturated introduction and then some colour entered although barely making a difference – it was a subtle shift intentionally, confirmed, placed as an indicator distiquishing the following of the flashback as we are taken on a tension filled journey around the environs of a forest in which Martin McCann lives in a wooden shed with corrugated tin roof and among contemporary utensils with a make piece bed and shelving.  He is completely on edge.  He, despite the period he has been here, (more on that and the story later,)  he is still vigilant and carries a two bore musket which is highly serviceable and he also has what might be a shortened Bowie knife.  He is a figure like any frontiersman, hunting daily and without language could be in any forest of the clement kind.  Every day requires the same clarity as the day before.  It is a relentless anxiety.  He is what the French call on the qui vive, on the alert; watchful, and he is his own guardsman with a weather eye for trespassers. Twenty or so minutes pass as we become immersed and familiar with the scope, limited, claustrophobic and insular with little or no awareness of the eight mile horizon which is unseen. Tension is racked up continuosly and his isolation is set.

Polemic

There are few films like this around.  There are very few people in it.  The world the film exists in is a vision of what may transpire beyond a meltdown of our own planets occupation and making, of humans diminishing swiftly and on a downward slope as far as population is concerned.  At the beginning was the word and our planet became one on which mankind foraged and survived across land bridges moving out of areas cut off by the ice age into territories both unfamiliar and unpracticed means of acquiring the nutrition needed to live.  Ireland was a desolate place once and a fusion of two tectonic plates hence the bog land down its centre.  It gave up its forests once occupied for fuel, land, reclaimation and settlement.

The formula, premis is Fingleton coming down on the Collapse side (see obtain the 571 page Jared Diamond book of the same name at cpor.org › Diamond(2005)Collapse-How…) as it is unfolding and clear before 1985 or even earlier we crossed the threshold of planet debt. Stephen Fingleton has the Ulster cynicism gene imprinted meaning his vision is of a collapse scenario. Again I also believe he does not close off a route to recovery, for that is what it shall entail. The best potential for this would be total worldwide empowerment of women which he accepts is one part of the answer. (see also the Chris Martenson book The Crash Course from 2011 and updates for a wide analysis,)   

I attended a talk a day after seeing this which was a concise and very well spelt out analysis with it coming down on the less but ultimately more challenging thought of redress and reining back through advances in population control a lot of which depends on the equality across all nations of women thus could alter the course which would find its level below the present. 10,000 babies an hour added to today’s population. See http://www.garvincrawford.co.uk for a copy of the longer version. The talk will soon be on YouTube.

As illustrated in The Revenant it is very probable the Native American Indian came via. a land bridge along with, as my past review of it raised, their Appolossa horses.  A recent documentary underpins this colossally and with little naysaying, that the Appolossa horse originates, in the time scale of man utilising and forming nomadic connections with, in Kyrgstan and bordering China were they were also plentiful.  To survive there as here required a broad range of skills.

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Huge Narrow Scope

The film begins with a rolling line red and blue signifying population advancing almost vertically come the era of the industrial revolution.  Director Stephen Fingleton then takes his projection of the future as a story, not to say prophecy downward on that trajectory.  Enter the externals, a bit like Margaret Atwoods externals which I later raised with him and he affirmed saying it was a massive influence in writing the story.  There in The Handmaids Tale, read in several different contextual ways all valid, there is a ‘safe’ world where outsiders are used as numbers and for particular functions and within the confines of the ruled ‘safe’ world there are sexual tasks to achieve a continuing product of babies and assist the stability of the Survived.  In the final third others appear as do ghostly reminders of the past.  They serve anonymously to underpin the disease of destructive urges prevalent in hopeless states.  One hand to hand fight is another crossing point.

Meanwhile as is supposed in The Handmaids Tale, there are implied wars existing on the outside and all manner of danger is around.  It is this exterior our characters of a near future period exist within.  For eight years back we are shown in the opening sequence the demise of the brother to brother union and the sacrifice made to survive and then the present post collapse being now what liberals call the new normal is some eight years on in a shed, (it happens to have entirely been filmed in North Antrim and the entire sound track dubbed, itself a very definitive choice.  The soundscape is raw and as light has a surreal incandescence, sometimes beguiling and bewitching the mono soundtrack – there is only one speaker front and central, used in the film performance – a simmering engulfing detail landscape of sound is slowly raised out of the bed of the earth.  No music is used either.  Only a found harmonica and Miljia playing with sound as percussion to show her interior listening heart is conveyed.

Being on guard is for the good reason he is not and cannot be alone.  Someone will come and an encounter happens one day in daylight and he is inside when he hears noises and immediately drops the door bar and locks.  He looks through a tin reflective enough to be a mirror and hazy figures, two women appear to be standing in the middle of his vegetable plot.

Women of Persuasion 

Opening the door he sees two women, both on the limits of starvation.  They are mother and daughter, Kathryn and Milja played by Olwen Fouéré whose striking features of long white hair lean body and softly matured face articulate a knowingness and Mia Goth her screen daughter of an age barely into womanhood.  Her wildness, like the orphan in Les Miserablés and emerging sexuality, her lanky angular awkwardness is open and forming a response to what she sees in this world they now live in.  One where starvation is the norm, where violence happens.  It is where the trees plants flora and fauna are surviving without interruption and Martin McCann’s character, he has no  name in the movie – only names his brother, so we shall call him Orpheus, is asked to provide some of his crop in exchange for firstly trinkets then seeds.  Orpheus makes no demands rejecting what they offer then Kathryn cast up by implication her daughter who is aware of the forthcoming translation and steps forward while Orpheus decides to accept with perfunctoriness the offer.

Seeds are used as perfunctory and commodified trades including bodily fluids as the negotiation just taken place includes a breaking clause.

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A Wooden Bolthole

The three are filmed in the cabin and frank nudity and explicit, perfunctory exchange takes place which summons new reactions and implicit bonds of a joining contract where the three are bound in the survival game.  Orpheus is in charge and his musket a central theme of power.  For her own specific survival and for Milja it is less clear Kathryn what’s to be in charge and to obliterate Orpheus.  To do this will take nerve, conspiracy, swiftness, accuracy, daring and a lot of luck.

This is known as a post event movie and Stephen Fingleton eschews the preconceived barrenness of landscapes here to produce a fecundity of verdant and present forms of life which in his view, as far as mankind is concerned is best expressed, best symbolised by the Inuit tribes and in my own interpretation as a follow-on the Asian Mongolian and Native American nomads whose background was Asian and nomadic life being the link of all.  It transposes as the Ulster Museum struggles to point out a settlement of nomadic types here who became farmers as Orpheus has become.  Here they have and armed struggle group called the Indiegonous Race Etnic Allegiance whose an acronym escapes me.  They are like Peppers Ghost – unlike other dubious armed struggle groups – only appearing at their calling – on stage – deceptively harmful/threatening/pointless and of only fictional preciosity is a-ghastly, flagrantly, inhuman and mythological.

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Other natures

Our planet is challenged is the notion of the film.  Despite the over grave outlook presented by Stephen it is intelligent subterranean almost visceral realism charged with deep emotions of bonding within a family, caring and compassion and love expressed tenderly and unequivocally.  It sanctions goals but they are only to be accepted through agreement.  The narrative places several choices – and it is important to notice these polemic turning points when they subtlety arise.  They throw up questions of mere fate, desire, strength of character and ultimate sacrifice.  At the beginning of this paragraph I alluded to an overload of gravity. Very true. There is an absence of, and wrongly humour, and mere non-visual unspoken longing and bonding.  Only occasionally is there any clue to the bond internally of Orpheus The Survivalist, and Milja.

Milja uses her body to draw them closer as a more perfect bond. The nakedness at times when it’s not part of a earthly comeuppance is in both their state one of celebration of freedom as they bath and have time to breathe.  These times are few and the vocabulary of beauty and existentialist thinking and wondering are virtually minimal as dictates prevail. Nevertheless all thre characters use their bodies as an extra acting device unclothed they are of any time or place or origin giving only identify familiar through bone and flesh shapes.

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This is a tremendous film of quality with a hard path to redeem the ticket and entry to it.  To take in,cab sorb its rough and delicate transience, it’s life force is fragile and starkness of reality is summoned through Survival is uppermost your part of the deal.ccTo engage in its cinematic, provoking challenges.  There is one religious one, of serious contempt, there are bodies corrupted by violence and bloodily as well as the naturalistic settings and their stimuli.


Conclusion ####4

This is a formidable provocative apocalyptic film outside the genre of that overused adj. apocalyptic, it is beyond stereo forms of placement, heavily immersed in monolithic tableaux. Sound is a statement which initially is stronger than the visual as a mechanism of connection.  Then the visually deciphering of The Survivalist himself and how he lives comes in slowly.  In its pace also it moves deliberately slowing our senses down to engage with all its values.  They panoply of choices fighting among the trio is a woman man adventure, a power struggle of equal measure, of natural precedence, meaning nature is the master and cells and skin are interchangeable commodities.  It is, the film, at a cellular molecular level in a lot of aspects and the more you burrow the more you learn or will see.  It is a parable on life’s journey in that sense. It is begging to be seen widely and for the complexities to be drawn out of what appears on the surface only as a simple thriller and contemporary; dystopian and such appendages are not welcomed by either Atwood or Fingleton as the fiction is probably and horrendously contemporaneous as examples such as Isis and they are not alone, show.

One thing Stephen Fingleton mentioned and it features a core thrux of the film is commodity and entity in product which he is viscerally challenged as we all are by.  Except he attempts to make movies about them by I understand distancing himself from those stimuli when escaping (as a Surviavalist might, though without choice to survive this modern animal of entertainment come infortainment.

In for a penny in for a pound.  Except the pound is a barbed wire fence with you on one side and uncivilisation on the other.
I hope it receives the acclaim it deserves and is widely a success given its performances and messages that can be diversely drawn from it.  No reaction will have an equal and as ‘animals’ with a lot in common we continually surprise and alarm.

John Graham

3 February 2016

Belfast

The QFT show the film exclusively before general release around the 12 February 2016 when all sorts of wider audience will be devoured by it!

Their showing QFT is from  Friday 5 February 2016 to 18 February 2016 so it bridges the opening also.

On Friday 5 February Director Stephen Singleton and Martin McCann will be at the QFT screening for a Q/A

On Saturday 6 and Sunday 7 February Director  Stephen  Fingleton and key crew will be at those screenings.

So Stephen has a busy schedule immediately before he goes of to other films and some writing already in the plans ahead.

Go see hopefully with the Q/A elements.

Magpie is a prequel short starring Martin McCann in another guise directed by Stephen Fingleton which he advises is free online to view at the link www.magpieshort.com

Science : Watch this Space

Hunger Games  

Wolves? 

Game changer

Readers of a certain age might remember a computer game called ‘Lunar Lander’, where you had to use your keyboard to manoeuvre a spaceship onto a planet’s surface without destroying it. Not easy.

Well, Elon Musk – boss of SpaceX – managed it in real life this week. The company launched a rocket into space, dropped off a few satellites, and then made a smooth landing back on earth. Obviously it’s not the first time a space vehicle has made it back to earth, but as the Wall Street Journal put it, “the gentle landing… marked the first time any large rocket has managed a controlled recovery after delivering a payload into orbit.”

It might sound geeky, but in the long run, reusable rockets would be “a game changer for the space industry”. They’ll make the whole business cheaper and in turn, render “space accessible to an array of companies and researchers that currently can’t afford to get into orbit.”

MoneyWeek have written up on this this month and will continue on the topic next year.

  

Let there be no Star Wars!

In the equation are new space stations most probably and therefore a whole galactical space where ‘things’ can be manufactured off and out in a neutral atmosphere.  What kind of industries and cities can they be?

John Graham

24 December 2015

Belfast

Science : Quantum Universe and Entanglement

 Our Material Universe

The Scientist has been writing again giving their insight to the material universe. My name for it as the step outside material involves time and non material things we know little of.

Here’s the Scientists latest post.

Can the idea of quantum entanglement explain the world or replace the metaphysics?

This peculiar phenomenon causes two or more particles to share a common feature which cannot be described individually. One requirement in quantum mechanics is that the described object/particles are be able to exists in two states simultaneously. This means if we have two objects pointing upwards and downwards at a same time, a measurement that determines the state of the object will project it to one of the two possibilities at random. Now if there is a pair of these and entangled, a measurement on one object determines the potential rest of second object independent of how far they are from each other.

It’s not wrong to say that there’s a quantum world, it’s the whole world including ourselves.

World of this kind goes back to Aristotle, where there is a polarity of an individual things, which characterised by intrinsic properties of each.

End of the day the nature can only be explained as whole through us and through every pieces in us.

(This I understand to be the passage of neutrinos and our composition through and in it.)
New Quantum Theory Could Explain the Flow of Time is a wired.com essay which brings together many aspects.

 

 

Such as :

Not to mention a bit of philosophy.

According to the scientists, our ability to remember the past but not the future, another historically confounding manifestation of time’s arrow, can also be understood as a buildup of correlations between interacting particles. When you read a message on a piece of paper, your brain becomes correlated with it through the photons that reach your eyes. Only from that moment on will you be capable of remembering what the message says. As Lloyd put it: “The present can be defined by the process of becoming correlated with our surroundings.”

The backdrop for the steady growth of entanglement throughout the universe is, of course, time itself. The physicists stress that despite great advances in understanding how changes in time occur, they have made no progress in uncovering the nature of time itself or why it seems different (both perceptually and in the equations of quantum mechanics) than the three dimensions of space. Popescu calls this “one of the greatest unknowns in physics.”

More

“We can discuss the fact that an hour ago, our brains were in a state that was correlated with fewer things,” he said. “But our perception that time is flowing — that is a different matter altogether. Most probably, we will need a further revolution in physics that will tell us about that.” of space. Popescu calls this “one of the greatest unknowns in physics.”

This is extracted from the wired.com article.

“We can discuss the fact that an hour ago, our brains were in a state that was correlated with fewer things,” he said. “But our perception that time is flowing — that is a different matter altogether. Most probably, we will need a further revolution in physics that will tell us about that.”

News has reached me of the source of the alpha beta particle names.
Lord Rutherford of New Zealand.

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Lord Rutherford

Research and Discoveries

In 1895, as the first research student at the University of Cambridge’s Cavendish Laboratory in London, Rutherford identified a simpler and more commercially viable means of detecting radio waves than had been previously established by German physicist Heinrich Hertz.

Also while at Cavendish Laboratory, Rutherford was invited by Professor J.J. Thomson to collaborate on a study of X-rays. German physicist Wilhelm Conrad Röntgen had discovered X-rays just months before Rutherford arrived at Cavendish, and X-rays were a hot topic among research scientists. Together, Rutherford and Thomson studied the effects of X-rays on the conductivity of gases, resulting in a paper about dividing atoms and molecules into ions. While Thomson went on to examine what would later be called an electron, Rutherford took a closer look at ion-producing radiations.

Focusing on uranium, Rutherford discovered that placing it near foil resulted in one type of radiation being easily soaked up or blocked, while a different type had no trouble penetrating the same foil. He labeled the two radiation types “alpha” and “beta.” As it turns out, the alpha particle was identical to the nucleus of a helium atom. The beta particle was, in fact, the same as an electron or positron.

John Graham

22 December 2015

Belfast

Economics : Jubilee

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The Wealth
Deep and Crispin Odey
When a billionaire hedge fund manager of £9 billion worth of assets says ..”God got it right,” a certain uncertainty creeps in.
Where on earth is that coming from?
Apart from the newspaper report (sometime ago – earlier this year) which spurs this response I follow the apparent logic to obtain its relevance.
Is it from a position of revaluation?
It is coming from the Leviticus story of (our soon to depart fellow worshiper whose sermon today covers the same thing – the jubilee,
In whom we are indebted for her glorious friendship and fellowship – it will last forever) the fifty years of human misanthropic, well not quite, eremitic, well not so singular, misguided, well getting there, use of others and earths resources to accumulate and hoard, all things for and to have a year of renouncing all debt and indebtedness.
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Counting your Chickens
Egg or Ego is that 162 ft above sea level one asks.
Jubilee
Time does not stand still. Crispin Odey, the billionaire hedge fund manager still hoards but finds hoarding a bit troublesome. You see his sense of jubilee is as though an appointed day shall arrive (hypothetically – there is no way for a moment it is foreseen to happen in his mind – God no.) as his mate of yore, James Goldsmith he relates foreseen the barely radical vision that lending works among peoples of the same classes. They then proceeded to hoard and lends and trade that hoard until, well it was fashionable to discuss once more jubilee.

No second coming or first coming but a return to forever. The cake was out of the pantry and the facts were on the table.
Debt amounts to £100 trillion sloshing about the world.
Do you want to write that off? Where shall we start? Do you take the current account look at it and say it can stand 2% say in the busted yoke economies? Then salvage growth by commodity price deflation? Well no because that would be as nourishing as as the output of one smelly fish farm when the thousands need real sustenance. You need a miracle worker and I can’t see one.
Do you write of 12% say? Well whose debt gets written off and who is the lender to who the debt has accrued to?

25% of the world debt is owed to China and well, they don’t do jubilee. They never did nor never will.
They are stuck though with high expectations for their lending returning new things. Well new things such as a emerging from poverty and hardship concerns seems as clear a goal as anyone ought to aspire too. However the loanees were a few cut from a certain cloth and they have capitalist aspirations akin to the hoarding general principles the mere hedger has been playing Monopoly money with for years.

Find a commodity and invest in its dependency on a market. So that would be oil then. Ŵell actually no when the stem of new technologies cannot be stopped from emerging and growing. So demand is to be from new societies randomly created out of wealth returning through lending and expansion of need? Such as China putting its return into wages topping up to create Consumerism Commensurate China. Bent at the knee for the mammon deity of Matthew and Luke next door to Leviticus.
It is about as productive as a Leviathan outlook spurning the whale as a digestion device and not an organism requiring space on the oceans trampoline of fortune. It makes a big splash.

Are you after a bigger splash. Well it seems as though people define tilt require it as the direction and Deep and Crispin Odey visionaries are all at a quandary trying to cast for one.

Digging out resources
They then wonder how the destructive industries took hold until they look at the location of those avarice goals and commodities lay.
If I recall J.Goldsmith liked his mining a lot. Well a great deal because it was a great deal. Pay people a pittance to extract their own mineral wealth and sell it back to them in mobile phones to ring others for a route out of the place. It’s kind of blew up in our faces round here. It’s enough to make you a green activist. Or go save a whale on a Greenpeace crusade. Or crusade for a jubilee.

You see the jubilee is here everyday. It has no sleep as it follows the sun and the breaking of bread continues while you sleep like the animals show the jubilee takes place with at a certain time of day the water bowl is visited. The drawn water is taken up and needs met for in turn another to replenish its form and it’s need. How it is managed is the nature of the optimal. The hard facts of the surface of the soil being the overgrazed or being the circularly treated replenished pasture. The jubilee allows for untending to take place. That is where the land recovers. It in Leviticus clearly shows the philosophy of permaculture to preside.

The Deep and Crispin Odey needs a bigger umbrella because their is going to be a bigger splash as he and his fellow hoarders the, Banks play odious, greed fashioned, inner mutuality, sick provoking capitalist foolery with the beast they are in the belly of.
You see currency is not one commodity. That being the ‘obtained’ truth they tripped upon, it instead is, one currency is axiomatic.

The jubilee is not alone an act of forgiveness, of sin, of debt or as commonly referred to in prayer. The daily prayer in which we speak of trespass says to us to put down our fears of human, animal or the unknown. The fear we receive is a metabolic explosion of the inner pact we have failing to be responded to by Gods instruction. Respect for others is to respect their difference. It is to respect their own path through life so different it may be for we do not live in the one place.

In the wake of the flood of apathy predicted as the outcome of the Paris Climate talks it is likely the investment needed to bring about real change to climate predictions is not going to happen, Big business, the source of most pollution and intransigence relating to energy usage. The hoarding of assets that could easily transform the process of climate change is frozen. The will does not exist and the tidal flow of melting ice at polar opposites will drown nations and create surges in immigration so far unimagined.
The Syrian crisis can be traced back to the climate activity destroying its agricultural dependency an causing national hardship.

I plea to the rich and the hoarders to reconcile their conscious in more than simple philanthropies but to turn around the motion of Climate change by acting with Governments for change and resource the Energy dependency on fuels which cause the damage in the industries producing the majority of theroblem.

It is a reality which cannot be dismissed and there are climate change scientists with solutions who must be supported.

Otherwise flood event after flood event and degree change will be the onset of this purge of the planters Eco system being done in this the Anthropocene age.

Its a given
To create a market place is to work for the conveyance of the things we can offer with the gift of giving which in return brings the things we have not. This world is the learning becomes the valuable shared commodity. Of cures for this and that. Of minerals capable of crafting living. Of setting quotas of expansion and retraction. Of setting balance of Law and Moral turpitude need be seen in the simple terms of do no harm. Of sharing happiness and relieving harm. Those are exemplary generalities. For once we begin to realise our creative metabolic need is satiated by this permaculture, dwelling as we do for many in fertile conditions, others clearly living with fertile lands out of reach can be met by not animal based proteins but mainly ‘The China Study’ plant based diet our bodies most accord with, is a time beginning.

The senses we have are like the black and blue seen as gold and white. It makes for realisation all is not as it is seen but is what it is.
Who asks why will receive the reply. God only knows.

John Graham

12 November 2015