highlike

Aleksandr Sokurov

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

Denis Villeneuve

Arrival

“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此,语言,尤其是←215的机制| 216→使用多种语言是到达中心的主题

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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.

AES+F

The Feast of Trimalchio: Arrival of Golden Boat

Del Satyricon di Petronio, spiritoso e lirico malinconico dell’epoca dell’imperatore Nerone, ci pervenne quasi intatto solo il capitolo dedicato alla cena di Trimalcione. La fantasia di Petronio fece del nome di Trimalcione il simbolo della ricezza e del lusso, del vizio della gola e della lussuria in barba alla fugacità della vita umana.
Abbiamo cercato di presentare qualcosa di simile nelle realta` del Terzo Millennio. Così, abbiamo visto Trimalchione, ex servo, liberto, nuovo ricco che dà conviti di molti giorni nel suo palazzo, invece che una persona, come un’immagine generalizzata di un hotel di lusso, una sorta di paradiso terrestre, il soggiorno in cui è prepagato.
Gli ospiti dell’hotel – i ‘padroni’, esponenti del “miliardo dorato”, cercano di dedicare parte del loro tempo, in qualsiasi stagione, al soggiorno presso Trimalcione odierno che ha arredato il proprio palazzo – hotel con il massimo esoticismo e lusso. L’architettura del Palazzo Hotel rappresenta un’assurda sintesi della spiaggia tropicale con la stazione sciistica. I ‘padroni’ indossano abiti bianchi che sembrano, da una parte, l’uniforme dei giusti dell’Eden temporaneo, dall’altra, la tradizionale uniforme coloniale, e, al contempo, una collezione estiva alla moda. I ‘padroni’ impersonano tutte le caratteristiche dell’umanità: ci sono, tra di loro, personaggi dai bambini ai vecchioni, hanno certi segni psicologici e sociali: un pofessore è dissimile da un broker, una donna di mondo da una intellettuale. I ‘servi’ di Trimalcione, giovani e carini esponenti di vari continenti (asiatici, africani, latinoamericani), il personale dell’industria alberghiera, dalle cameriere ai cuochi, ai giardinieri, alle guardie e ai massaggiatori. Sono tutti giovani e belli e indossano uniformi tradizionali di vario colore a seconda dell’etnia. Sono una specie di ‘angeli’ “di colore” del paradiso al quale i ‘padroni’ possono accedere per un certo tempo.

 

Maria Guta and Adrian Ganea

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance

An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

RAYMOND QUENEAU

雷蒙格诺
レイモン·クノー
רמונד קנה
Раймонд Кено
OULIPO
Cent mille Milliards de poèmes
Since its arrival (the Oulipo), the rules of the group were set out as follows: “We define potential literature as the search for new forms and structures that can be used by writers in the way they will most like.” “Potential” refers to something that exists in power in literature, that is, that is found within language and that has not necessarily been explored. The favorite tool for study and production is the contrainte, an arbitrary formal restriction that can create new procedures, new forms and literary structures that can generate poems, novels, texts. Over the years, dozens of different contraintes have been explored, from those somehow related to the riddle, such as the palindrome, the acrostic, the lipogram, of which the playful aspect has certainly not been underestimated, with forms more directly related to the codes of exact sciences, such as combinatorial calculus, set theory or graph theory. Among the numerous definitions of the Oulipo provided by the members themselves, one is very elegant and significant: “An Oulipiano is a mouse that builds the labyrinth from which it is proposed to come out later”. Queneau often explained that some of his works might seem simple pastimes, simple jeux d’esprit (mind games), but he remembered that topology or number theory also arose, at least in part, from what was once called “funny mathematics“.

STUDIO FUKSAS

Shenzhen Bao’an International Airport

The new terminal of Shenzhen Bao’an International Airport, the first airport by Massimiliano and Doriana Fuksas, encompasses 63 contact gates, with a further 15 remote gates and significant retail space.
It increase the capacity of the airport by 58%, allowing the airport to handle up to 45 million passengers per year.The sculptural 500,000 sqm terminal evokes the image of a manta ray and features an internal and external double skin honeycomb motif that wraps the structure.1.5 km long, with roof spans of up to 80 m, honeycomb shaped metal and glass panels punctuate the façade of the terminal allowing natural light to filter through. Inside, the terminal is characterized by distinctive white conical supporting columns that rise to touch the roof at a cathedral-like scale.The focal point of the design is the concourse located at the intersection of the building.
Consisting of three levels – departure, arrivals and services – vertically connected to create full height voids and allowing natural light to filter from the highest level down to the lowest.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.