• M. C. ESCHER: JOURNEY TO INFINITY (film review by Mark R. Leeper)

    From Mark Leeper@mleeper@optonline.net to rec.arts.movies.current-films on Fri Feb 12 07:58:30 2021
    From Newsgroup: rec.arts.movies.current-films

    M. C. Escher is best known for his tessellations and for his
    "Impossible" structures. Strangely, he did not think of himself as
    an artist, but as a mathematician, not realizing one can be more of
    the one if one is also the other. There is no narrator per se;
    this documentary is told entirely in the words of Escher himself
    (from letters and diaries) along with comments by family, friends,
    and admirers. One of the latter is Graham Nash, of Crosby, Stills
    & Nash. Escher's own words are voiced by Stephen Fry.

    The film covers Escher's entire career, from early "realistic"
    works through his branching out into more mathematical and surreal
    art, always in woodcuts, lithographs, or drawings rather than
    paintings. Later in his career we see the complexities when some
    of these geometric patterns meet Nazi politics.

    Escher's work was (adopted by hippies in the 1960s, done as posters
    in fluorescent colors intended to be seen under black light.
    Escher himself couldn't understand what they saw in his work, since
    he saw his work as supremely rational and structured, and the
    hippies as being opposed to all this.

    One example of Escher's influence on popular culture is shown as
    the "Penrose Stairs" sequence in the film INCEPTION. (In the
    credits, Sir Roger Penrose is listed as the patron of the
    documentary.) The Escher portrayal is titled "Ascending and
    Descending", though it is often called just "Penrose Stairs".
    Another Escher reference is the sequence from LABYRINTH copied from
    Escher's "Relativity", a lithograph showing staircases at various
    angles with contradictory gravities. A hint is also seen in THE
    NAME OF THE ROSE, though without the impossible physics.
    ("Relativity" seems to be a much more structured variant on his
    earlier "High and Low" and "house of Stairs" and used later in
    "Convex and Concave".)

    Escher himself summed up his work by saying, "[Other artists] they
    pursue beauty, I pursue wonder." Oh, and you will definitely want
    to sit through the credits.

    (THE GRAPHIC WORK OF M. C. ESCHER divides Escher's major works into
    nine categories: "Regular Division of a Plane", "Unlimited Spaces",
    "Spatial Rings and Spirals", "Mirror Images", "Inversion",
    "Polyhedrons", "Relativities", "Conflict Flat-Spatial", and
    "Impossible Buildings".)

    Rating: high +1 (-4 to +4) or 6/10

    Film Credits: <https://www.imdb.com/title/tt8297550/reference>

    What others are saying: <https://www.rottentomatoes.com/m/mc_escher_journey_to_infinity>

    --
    Mark R. Leeper
    --- Synchronet 3.18a-Linux NewsLink 1.113
  • From RichA@rander3128@gmail.com to rec.arts.movies.current-films on Mon Feb 15 12:39:20 2021
    From Newsgroup: rec.arts.movies.current-films

    On Friday, 12 February 2021 at 10:58:34 UTC-5, Mark Leeper wrote:
    M. C. Escher is best known for his tessellations and for his
    "Impossible" structures. Strangely, he did not think of himself as
    an artist, but as a mathematician, not realizing one can be more of
    the one if one is also the other. There is no narrator per se;
    this documentary is told entirely in the words of Escher himself
    (from letters and diaries) along with comments by family, friends,
    and admirers. One of the latter is Graham Nash, of Crosby, Stills
    & Nash. Escher's own words are voiced by Stephen Fry.

    The film covers Escher's entire career, from early "realistic"
    works through his branching out into more mathematical and surreal
    art, always in woodcuts, lithographs, or drawings rather than
    paintings. Later in his career we see the complexities when some
    of these geometric patterns meet Nazi politics.

    Escher's work was (adopted by hippies in the 1960s, done as posters
    in fluorescent colors intended to be seen under black light.
    Escher himself couldn't understand what they saw in his work, since
    he saw his work as supremely rational and structured, and the
    hippies as being opposed to all this.

    One example of Escher's influence on popular culture is shown as
    the "Penrose Stairs" sequence in the film INCEPTION. (In the
    credits, Sir Roger Penrose is listed as the patron of the
    documentary.) The Escher portrayal is titled "Ascending and
    Descending", though it is often called just "Penrose Stairs".
    Another Escher reference is the sequence from LABYRINTH copied from
    Escher's "Relativity", a lithograph showing staircases at various
    angles with contradictory gravities. A hint is also seen in THE
    NAME OF THE ROSE, though without the impossible physics.
    ("Relativity" seems to be a much more structured variant on his
    earlier "High and Low" and "house of Stairs" and used later in
    "Convex and Concave".)

    Escher himself summed up his work by saying, "[Other artists] they
    pursue beauty, I pursue wonder." Oh, and you will definitely want
    to sit through the credits.

    (THE GRAPHIC WORK OF M. C. ESCHER divides Escher's major works into
    nine categories: "Regular Division of a Plane", "Unlimited Spaces",
    "Spatial Rings and Spirals", "Mirror Images", "Inversion",
    "Polyhedrons", "Relativities", "Conflict Flat-Spatial", and
    "Impossible Buildings".)

    Rating: high +1 (-4 to +4) or 6/10

    Film Credits: <https://www.imdb.com/title/tt8297550/reference>

    What others are saying: <https://www.rottentomatoes.com/m/mc_escher_journey_to_infinity>

    --
    Mark R. Leeper

    Pretty easy to see why hippies latched on to his work.
    --- Synchronet 3.18a-Linux NewsLink 1.113
  • From Flasherly@Flasherly@live.com to rec.arts.movies.current-films on Mon Feb 15 17:42:52 2021
    From Newsgroup: rec.arts.movies.current-films

    On Mon, 15 Feb 2021 12:39:20 -0800 (PST), RichA <rander3128@gmail.com>
    wrote:

    Pretty easy to see why hippies latched on to his work.

    We haven't art: We have the illustrated graphics of autonomous
    mechanistic for mass deployment of capitalistic advertising and
    monopolized nationalistic propaganda.

    Art, since the early turn of the 20th. c., increasingly has reacted
    adversely to preconception within assemblages of moral tastes
    distributed from an end of a conveyor-belt;- Work-stations
    merchandized along the Asian Pacific Rim, worker assigned stages in
    part in a shifting line of discrete reciprocity, proceeding endless trepidation, upon a signature in concept-driven marketing of
    industrial copyrighted trademarks.

    The successful entrepreneur and fashioneur, whom then may think
    privately to amount a role purchaseur possesseur, among paintings and
    residual artifacts, culled and worn to curate from bygone eras of
    artistic merit;- neatly hedged quite predominately to notable wealth
    of higher attainments this age has to preen itself by status quo, for
    artistic offerings to serve wholly and exclusive the elect able to
    afford materialise its curios.



    “The media landscape of the present day is a map in search of a
    territory. A huge volume of sensational and often toxic imagery
    inundates our minds, much of it fictional in content. How do we make
    sense of this ceaseless flow of advertising and publicity, news and entertainment, where presidential campaigns and moon voyages are
    presented in terms indistinguishable from the launch of a new candy
    bar or deodorant? What actually happens on the level of our
    unconscious minds when, within minutes on the same TV screen, a prime
    minister is assassinated, an actress makes love, an injured child is
    carried from a car crash? Faced with these charged events, prepackaged
    emotions already in place, we can only stitch together a set of
    emergency scenarios, just as our sleeping minds extemporize a
    narrative from the unrelated memories that veer through the cortical
    night. In the waking dream that now constitutes everyday reality,
    images of a blood-spattered widow, the chromium trim of a limousine
    windshield, the stylised glamour of a motorcade, fuse together to
    provide a secondary narrative with very different meanings.”
    -- The Atrocity Exhibition
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  • From super70s@super70s@super70s.invalid to rec.arts.movies.current-films on Wed Feb 17 12:42:30 2021
    From Newsgroup: rec.arts.movies.current-films

    I have four calendars dating from the mid-2000s I can reuse at various
    years, I stopped at 2040 though because I doubt I'll be around then.
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