"Charles Bukowski was a creature of perplexity and paradox, oscillating between romantic pessimism and luminous wisdom on the meaning of life, propelled by an outrageous daily routine. His expressive poems explored everything from the myths of creativity to his 'friendly advice' to young men.
In 1999, British animator Jonathan Hodgson and illustrator Jonny Hannah teamed up on a breathtaking animated adaptation of Bukowski's 1992 poem 'the man with the beautiful eyes' from his final and arguably best poetry collection, The Last Night of the Earth Poems."
(Maria Popova, Brain Pickings)
"Since its foundation 28 years ago, the Hamburg International Short Film Festival has been celebrating short films as an independent art form, while offering an opportunity for film makers from all over the world to get in touch with an eager audience and with each other. The International Competition mirrors current global aesthetic tendencies and narrative structures. The German Competition offers an overview of the state of the nation's short films and film academies."
"Italian film maker Paolo Gioli creates a haunting short movie by animating photographs taken by Bert Stern of Marilyn Monroe shortly before she died at the age of 36, fifty years ago today.
Filmarilyn is both beautiful and foreboding. As the film's jazzy rhythms start to disintegrate and the images slow to a crawl, 'X' marks on the contact sheets appear like magical curses and a fresh scar on Marilyn's flesh transforms into a stigmata while her face, half–hidden by shrouds of white, eyes closed, turns impossibly pale and lifeless. In the final moments, close–ups of her hands in death–like repose seem almost saintly and as the film's last frames unspool we are left with the sense of having seen an apparition, a ghost... a soul X–rayed.
It's amazing how much power and sadness Gioli creates from so few elements – a testimony to his artistry, Marilyn's radiance and Stern's skill in capturing it."
(Marc Campbell, 05 August 2012, Dangerous Minds)
Fig.1 Paolo Gioli (1992) "Filmarilyn", uploaded to Vimeo by Volodymyr Bilyk.
"The Higher Education Statistics Agency (HESA) is the official agency for the collection, analysis and dissemination of quantitative information about higher education.
It was set up by agreement between the relevant government departments, the higher education funding councils and the universities and colleges in 1993, following the White Paper 'Higher Education: a new framework', which called for more coherence in HE statistics, and the 1992 Higher and Further Education Acts, which established an integrated higher education system throughout the United Kingdom."
(Higher Education Statistics Agency)
"1992 – 20 years ago: all countries belonging to the European Union decided to create a single market. This meant removing the obstacles blocking the free movement of goods, people, services and capital among them.
20 years on, we can travel across Europe without having to show our passports, work and live in another country without any difficulty, and find the best deals across Europe when shopping online. But we all agree that more work needs to be done in order to have a fully functioning European single market.
If you are 20 years old, we want to hear from you: your experiences, stories, complaints and proposals to make Europe a better place to live and work."
(Generation 1992)
"It is with great sadness that we confirm that musician, rapper, activist and director Adam 'MCA' Yauch, founding member of Beastie Boys and also of the Milarepa Foundation that produced the Tibetan Freedom Concert benefits, and film production and distribution company Oscilloscope Laboratories, passed away in his native New York City this morning after a near–three–year battle with cancer. He was 47 years old."
(Beastie Boys)
Fig.1 Music video by The Beastie Boys performing "Gratitude". (C) 2009 Capitol Records, LLC [recorded in 1992 in Rotorua, Aotearoa New Zealand].
"in March 1991, television screens across the world broadcast [George Holliday's] videotaped footage of LAPD officers raining down 56 baton blows on an African American named Rodney King. ... on April 29, 1992, a jury in Simi Valley, one of the whitest exurbs of Los Angeles, acquitted three of the four officers involved in beating Rodney King. The response in South Los Angeles was loud and immediate: That night, thousands of residents, black and Latino, took to the streets, starting a four–day riot that destroyed more than 1,000 buildings, injured 2,500 people, killed 58, and resulted in $1 billion in damage and 16,000 arrests."
(Josh Sides, 19/04/2012, Design Observer)
"John Sturges is a rather curious case in Hollywood history: a director responsible for a trio of extremely famous films, films whose titles have all but entered the language (Gunfight at the OK Corral, The Magnificent Seven and The Great Escape) but with whose own name only specialists are conversant."
(The Independent, 24 August 1992)
Fig.1 Intro to "Gunfight at the O. K. Corral" by John Sturges starring Burt Lancaster and Kirk Douglas. Soundtrack "Gunfight at the O.K. Corral", lyrics by Ned Washington, music by Dimitri Tiomkin, performed by Frankie Laine: Ok corral ok corral; there the outlaw band make their final stand; ok corral; oh my dearest one must die; lay down my gun or take the chance of losing you forever; duty calls; my backs against the wall; have you no kind word to say; before i ride away; away; Your love your love; i need; your love; Keep the flame let it burn; until i return; from the gunfight at ok corral; if the lord is my friend; we'll meet at the end; Of the gunfight at ok corral; gunfight at ok corral; Boot hill Boot hill; so cold so still; There they lay side by side; the killers that died; in the gunfight at ok corral; ok corral; gunfight at ok corral.
"An intragame is a game within the game, e.g. the Pachinko machine in Duke Nukem 3D [or a Pac–Man level in Wolfenstein 3D]. Since computer games are based on simulator technology that could mix or include any other game in addition to the main game, the main game will be the only one classified."
(Aarseth, Smedstad and Sunnanå, 2003, p.49)
1). Video capture of secret Pac–Man level within Episode 3 of Wolfenstein 3D.
2). Table of Contents for Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University
3). Espen Aarseth, Solveig Marie Smedstad and Lise Sunnanå (2003). 'A multi–dimensional typology of games', in Copier, Marinka; Raessens, Joost, Level Up: Digital Games Research Conference Proceedings, DiGRA and Utrecht University
"Augmented reality – which essentially means to layer data like audio, graphics, and animation over live video – existed long before we got the idea to use it in our 2009 Best and Brightest issue. The term was coined in 1992 by Tom Caudell while working for Boeing, where factory workers used AR to sort parts. Now, with video cameras in so many electronic devices – including the webcam on your computer – AR applications range from advertising to architecture and gaming to pizza boxes. But no one had taken advantage of the technology on any kind of editorial scale, until we got to thinking..."
(Hearst Communications, Inc.)
"MarkMail is a free service demonstrating the capabilities and power of MarkLogic Server using email as a content source. Each email is stored as an XML document, and accessed using XQuery. All searches, faceted navigation, analytic calculations, and HTML page renderings are performed on a single MarkLogic Server machine running against millions of messages. This community–focused searchable message archive can be accessed at: markmail.org"
"Eine Zusammenstellung der besten und berühmtesten langen Kamerafahrten muss natürlich mit Murnau beginnen. Hier das Treffen des Mannes mit seiner Geliebten in Sunrise (1927) [1] Der Banküberfall in Gun Crazy (Joseph H. Lewis, 1950), in einer einzigen Einstellung aus dem Auto gefilmt [2] Die Kamera aus der Ich–Perspektive ... Madame de ... (Max Ophuls, 1953) – nach dem Vorspann ab Minute 1:50 [3] Touch of Evil von Orson Welles (1958), mit der wohl so ziemlich berühmtesten Kamerafahrt [4] Godard ('Eine Kamerafahrt ist eine Frage der Moral.') und sein Weekend (1967) [5] Antonionis Beruf: Reporter (1975) [6] In den letzten zehn bis zwanzig Jahren werden extrem lange Kamerafahrten immer häufiger. Zum einen aufgrund der besseren technischen Möglichkeiten (die Steadycam gibt es seit Mitte der 70er Jahre, Antonioni musste für seine bahnbrechenden Aufnahmen in Beruf: Reporter noch komplizierte Konstruktionen zu Hilfe nehmen) – und zum anderen als Gegenentwicklung, als Ruhepol zu der immer höher werdenden Schnittfrequenz, die mit dem Musikclipsender MTV begann und jüngst mit den Batman– und Jason–Bourne–Filmen einen Höhepunkt erreicht hat. In Martin Scorseses Goodfellas (1990) folgt die Kamera Henry, wie er mit seiner Freundin über den Hintereingang einen Club betritt. Dabei wird unnachahmlich illustriert, welch privilegierte Stellung er genießt [7] Aus Murnaus entfesselter Kamera war zu diesem Zeitpunkt schon ein so beliebtes Stilmittel geworden, dass es Zeit für etwas Ironie wurde. Das zeigt die Anfangssequenz in Robert Altmans The Player (1992), in der sich zwei Darsteller über die besten tracking shots der Filmgeschichte unterhalten [8] Einige besonders kreative Höhepunkte sind seit den 90er Jahren im Genre des Hongkong–Thrillers zu finden. So in John Woos Hard Boiled (1992) [9] Die ersten sieben Minuten von Breaking News (2004) von Johnnie To [10] Ziemlich eindrucksvoll ist auch diese Szene aus The Protector von Prachya Pinkaew (2005) [11] Höhepunkt und Abgesang? In Joe Wrights Atonement von 2007 gerät die knapp fünfminütige Sequenz mit den Landungstruppen am Strand zu einem fast schon aufdringlichen Muskelspiel (ab 0:47) [12] Weitere Beispiele?"
(Thorsten Funke, 20. Juni 2009)
Films famous for their use of single continuous shots:
Sunrise (Friedrich Wilhelm Murnau, 1927); Gun Crazy (Joseph H. Lewis, 1950); Madame de ... (Max Ophuls, 1953); Touch of Evil (Orson Welles, 1958); Weekend (Jean Luc Godard, 1967); Beruf: Reporter (Michelangelo Antonioni, 1975); Goodfellas (Martin Scorseses, 1990); The Player (Robert Altman, 1992); Hard Boiled (John Woo, 1992); Breaking News (Johnnie To Kei–Fung, 2004); The Protector (Prachya Pinkaew, 2005); Atonement (Joe Wright, 2007).
"The Australian Technology Network (ATN) comprises Curtin University of Technology, University of South Australia, RMIT University, University of Technology, Sydney and Queensland University of Technology. All were established as universities between 1987 and 1992. This group of universities has a common technology heritage, a common research focus on solving real world problems (73 per cent of all research income sourced from industry), and a willingness to learn from each other at all levels. The members of the group have worked together for more than 20 years."
(Department of Education, Science and Training, Commonwealth of Australia)
[The Australian Technology Network Universities in Australia are equivalent to the new universities (mainly ex–polytechnics and technical colleges) in Aotearoa/New Zealand, Hong Kong and Singapore, and Post–1992 or 'Plate Glass' universities in the United Kingdom and land–grant colleges in North America.]
"Mary Graham has declared that one of the most taken–for–granted assumptions of Aboriginal thought is that spirit is real; another is that land is all there is (Graham 1992). That is to say, spirit has a status, in Aboriginal thought, as incontestable as that of energy and matter; and, since there is no heaven and hell, and since theories and ideas, however dazzling, are not real, land is ultimately the only thing that exists. If 'land' is expanded to encompass the concrete given – all that is actual in a physical sense – then I think that the attitude of letting be follows from these twin premises: spirit animates the given rather than existing in the realm of the abstract, so we connect with spirit by engaging – and not unnecessarily interfering – with the given. By embracing the given even in its most adulterated forms, we reinhabit our own contemporary, mundane reality in the same kind of profound way that traditional Aboriginal peoples inhabited their reality, the still edenic land. Graham, Mary 1992, interviewed on Aboriginal Perspectives, Caroline Jones and Stephen Godley, ABC Religious Program"
(Freya Mathews, Australian Humanities Review)
Mathews, F. (2004). "Letting the World Do the Doing." Australian Humanities Review August – October 2004(33).
[Issues surrounding land and its relationship to spirituality are central to an indigenous Australian world view. The belief that land is something that can’t be contained or controlled stands in stark contrast to the Western belief that sees land as a commodity that can be owned by individuals and sold for personal gain.]
Through the early to mid 1990's "Tim Gruchy designed and conceptualised the interactive components and videos [for the Australian band "Vision Four 5"]. Their live performance had them standing on stage, waving arms in the air in front of large screens, not just for that 'put your hands up in the air' rave momentum, but also to use their bodies as controllers for triggering the sound and visuals via digital interactive computer systems – video cameras converted into real–time computer graphics which triggered midi sounds and visual trigger points adding extra layers to the live performance."
(http://AliaK.com, 02 October 2002)
"Cyberphobia", 1992 by Vision Four 5 (Noel Burgess, Ben Suthers, Tim Grutchy and Gavin Sade).