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"Eventually, all things merge into one, and a river runs through it. The river was cut by the world's great flood and runs over rocks from the basement of time. On some of the rocks are timeless raindrops. Under the rocks are the words, and some of the words are theirs. I am haunted by waters."
-Norman Maclean, "A River Runs Through It"
We know that all Prime numbers, after 2 and 5, end with either a 1, 3, 7 or 9 as their last digit.
If we look at the frequency of individual last digits we can see that 1, 3, 7, or 9 more or less occur at a similar frequency. However, as soon as we look at the frequency of the same last digit occurring twice in a row, we find that this is far less common and even less common for the same last digit occurring three times in a row.
Kannan Soundararajan and Robert Lemke-Oliver produced a paper in March 2016 on this apparent bias which received considerable attention in mathematical journals www.quantamagazine.org/mathematicians-discover-prime-cons.... If you really want to dive into the maths, the full paper can be found here arxiv.org/pdf/1709.06168.pdf .
Lockheed Martin’s sixth Advanced Extremely High Frequency (AEHF-6) protected communications satellite is encapsulated in its protective fairings ahead of its expected March 26 launch on a United Launch Alliance Atlas V rocket. AEHF-6 is part of the AEHF system -- a resilient satellite constellation with global coverage and a sophisticated ground control system -- that provides global, survivable, protected communications capabilities for national leaders and tactical warfighters operating across ground, sea and air platforms. The anti-jam system also serves international allies to include Canada, the Netherlands, United Kingdom and Australia.
Today Go North East operated a high frequency Metro Replacement service between Hepworth and South Gosforth, using a variety of buses.
In April 2015 the HARPS laser frequency comb was installed on the HARPS planet-finding instrument on the ESO 3.6-metre telescope at the La Silla Observatory in Chile after completion of an intense first commissioning phase. The increase in accuracy made possible by this new installation should in future allow HARPS to be able to detect Earth-mass planets in Earth-like orbits around other stars for the first time.
This picture shows a HARPS spectrum of the light from the two laser frequency combs that that were tested.
More information: www.eso.org/public/images/ann15037a/
Credit:
ESO
Jason Hummel Photography
On Facebook www.facebook.com/pages/Tacoma-WA/Jason-Hummel-Photography...
Image source: Queensland State Archives Item ID ITM1102510 Expo 88 hostesses in uniform, Brisbane.
World Expositions (or Exhibitions) become increasingly popular after the 1851 Great Exhibition in London, but their frequency, and the standard of their facilities, was not regulated until after the 1928 Paris Convention on International Expositions. The Bureau International des Expositions (BIE) was established in 1931 to administer the Convention. Under BIE rules there are two types of international exposition: the Universal/Category A/General Exposition, and the International/Category B/Special Exposition. The former involves broad themes, and participants design their own pavilions from the ground up, based on the theme.
The International Exposition, which has a narrower theme, is much cheaper to host, and is usually limited to one branch of human endeavour. Participants rent prefabricated pavilions from the host country's committee. Brisbane's Expo 88 was an International Exposition, with the theme "Leisure in the Age of Technology". Most of the structures built on exposition sites are intended to be temporary, but some sites have become parks, incorporating surviving exposition elements, including the sites of Montreal 1967, Seville 1992, Taejon 1993, and Lisbon 1998. Some structures have gone on to become landmarks in their own right, such as the Royal Exhibition Building (Melbourne 1880), the Eiffel Tower (Paris 1889), and the Space Needle (Seattle 1962).
The first bid to bring an exposition to Brisbane in 1988 began with James Maccormick , the architect who had designed the Australian pavilions at Montreal 1967, Osaka 1970, and Spokane 1974. The Brisbane Chamber of Commerce was converted to the idea, and lobbied the Queensland State Government during 1977. However, the Queensland Government was worried about the cost of a Universal Exposition, and was preoccupied with its bid for the 1982 Commonwealth Games. A second Queensland bid was made in 1981. The Australian Bicentennial Authority (ABA), under John Reid, wanted an Universal Exposition in Australia as part of Bicentennial in 1988, and the Federal Government was prepared to fund half of the cost of an exposition in Melbourne or Sydney. However, when these states turned the offer down in January 1981, Reid approached the Queensland Government with a proposal for a cheaper International Exposition. In late 1981 the State Cabinet funded a study that identified South Brisbane as the preferred site. The State Cabinet approved the study on 5 November 1981, on the condition that the Federal Government share the capital costs, but Prime Minister Malcolm Fraser rejected this notion in December 1981.
Queensland made two more attempts in 1982 for an International Exposition. Frank Moore, Chairman of the Queensland Tourist and Travel Corporation (QTTC), believed that private enterprise could fund the exposition, and that it would benefit Queensland's tourism. Queensland's Premier Joh Bjelke-Petersen asked Prime Minister Fraser to get the BIE to keep a slot open for Brisbane in 1988. Fraser was willing to support this proposal, so long as there was no Federal financial commitment. However, Queensland private enterprise was not forthcoming, and Bjelke-Petersen withdrew the proposal in April 1982. November of 1982 witnessed a renewed bid by the State Government. The State would lend money to a statutory authority, which would be tasked with buying and developing the land, and managing the exposition. Brisbane's application was sent to the December 1982 meeting of the BIE in Paris, and was approved in June 1983.
The Brisbane Exposition and South Bank Redevelopment Authority (BESBRA) was established in February 1984 by an Act of the Queensland Parliament. BESBRA was soon referred to in the media as the Expo 88 Authority, or the Expo Authority. Sir Llewellyn Edwards, the Deputy Premier, was appointed as Chairman. In April 1984 the Expo 88 Authority's general manager, Bob Minnikin, claimed that Expo 88 would require $180 million to produce, including resumptions and development, and $90 million to run. It was hoped that gate takings and sponsorship would cover the running costs, and that the development cost would be recouped through selling off the site after Expo 88. Only 13 hectares of the Expo 88 site was private land, with the remainder of the 40 hectares belonging to either the State Government or the Brisbane City Council. Nonetheless, the last resumption did not occur until October 1984, as the owner of the heritage-listed residence 'Collins Place' fought a running legal battle with the Expo 88 Authority.
Grey and Stanley Streets were closed to traffic in July 1985, and demolition work began. Construction of the pavilions started in January 1986. The concept of the Expo 88 architects, Bligh Maccormick 88, included eight large shade-canopies, to protect the public from the Queensland sun. Landscaping began in March 1987, and the Monorail, which would circle the site on a 2.3 kilometre long track, was commissioned in June of that year. By January 1988, $90 million of the $136.8 million construction budget had been spent, and 7.8 million visitors were expected.
During 1987 developers had been asked to present their proposals for Southbank's redevelopment after Expo 88. In February 1988 the State Government announced that the redevelopment plan of the River City 2000 Consortium had been accepted. The Consortium, headed by Sir Frank Moore of the QTTC, had visions of a World Trade Centre on an island, and a casino. However, by early 1988 there was a growing call in the media for more of the site to be turned into public parkland. During March and April 1988 the National Trust protested the River City 2000 Consortium's scheme to move Collins Place, the Plough Inn, and the Allgas Building, three heritage listed buildings, to a historic village. Premier Mike Ahern eventually gave reassurances that this would not happen.
Expo 88 ran for seven days a week, between the hours of 10am-10pm, for six months. Between its opening on 30 April, attended by Queen Elizabeth II, and 30 October 1988, the Expo attracted 15,760,447 visitors, the majority of these being Australians. Most of the international visitors were Japanese, but 100,000 came from the United Kingdom and Europe, with 150,000 visitors from the United States. A total of 36 nations, two international organisations, 14 state and regional governments, and 34 corporations had exhibits.
The pavilions were mostly plain, modular, and temporary. However, the Nepalese Peace Pagoda is a distinctive building, and was easily noticed as the public came through the Vulture Street entrance to Expo 88. The Association to Preserve Asian Culture (APAC) commissioned the Peace Pagoda, which was built by 160 craftsmen of the Kathmandu Valley over two years, before being assembled in Brisbane. It is one of only three such temples outside Nepal, the others being at Munich and Osaka. Nepal has a long history of intricate woodcarving on buildings, and the Peace Pagoda was an attempt to showcase this skill to the world. The two small timber pavilions in front of the Peace Pagoda sold yoghurt lati, samosas, orange juice and lemon tea. Artisans demonstrated their crafts inside the ground floor of the Pagoda, and people could drink their tea and watch the Expo crowds from the teahouse on the first floor. The nearby Nepalese pavilion showcased traditional costumes, climbing dress, photographs, and artefacts.
Expo 88 was a turning point for Queensland's culture and economy, especially in Brisbane. On 30 May 1983 Joh Bjelke-Petersen had noted that if Brisbane's bid were successful, it would focus the world's spotlight on Queensland. Sir Frank Moore believed that the key to developing a major tourist industry in Queensland was a series of hallmark events, including the 1982 Commonwealth Games, which would focus attention on Queensland far better than any advertising campaign. Expo 88 was also intended to start Brisbane on a modernisation process, and towards becoming a 'global' city. The urban renewal of South Brisbane was just one aspect. In April 1984 Sir Llew stated that Queensland would never be the same again after Expo 88, and Brisbane would develop an image as a centre of trade, culture and entertainment. In April 1988 the Courier Mail claimed that Expo 88 was "bridging the yawning gap from a hayseed State to an urbane, international future". Sir Llew also claimed in April 1988 that the aim was for Expo 88 to be a catalyst for a change in lifestyle. Queenslanders had experienced extended opening hours and outdoor café dining, and had liked it.
While the crowds enjoyed Expo 88, controversy continued regarding future plans for the site. There were calls for more public input on redevelopment plans. About 4.5 hectares of land between Stanley Street and the river belonged to the Brisbane City Council (BCC), as Clem Jones Park, and had been lent to the Expo 88 Authority. In June 1988 it was decided to restore this land as parkland, and the River City 2000 Consortium lost its Preferred Developer status.
Government plans for a South Bank Development Corporation were announced, and in July 1988 an interim committee, headed by Sir Llew, was formed to oversee redevelopment. Sir Llew noted in October 1988 that more public funding was necessary to increase the parkland component of the new Southbank, as the land had been earmarked for development to repay for the cost of Expo 88. The draft redevelopment plans released in November 1988 included 12 hectares of parkland. Public submissions on the plan suggested that people wanted to be able to return to the Expo 88 site, to a public facility that had a similar combination of food, art and nature.
At the end of Expo 88, the APAC had planned to sell the Nepalese Peace Pagoda, and it appeared likely that it would be moved to Japan. However, 90,000 people had signed a petition during Expo 88 to keep the Peace Pagoda in Brisbane, and in late 1988 the BCC offered to provide land for the Peace Pagoda, if the Federal Government would pay for its cost and maintenance. A "Save the Pagoda Campaign" was active by February 1989. Public donations eventually totalled $52,000, with $30,000 coming from one couple, who wanted to "give Brisbane something to remember from Expo 88". The BCC provided $50,000, and the Federal Government supplied $100,000. "The Friends of the Pagoda Committee" also raised funds to buy several items that had complemented the Peace Pagoda, including a brass statue of the deity of compassion, a bronze bell and carved stone frame, and a stone lingam.
The Southbank Development Corporation was set up February 1989, with Vic Pullar as the Chairman. Approximately $200 million had been spent on developing the Expo site, and this money had to be recouped. The South Bank Corporation Act was passed in May 1989, and the former Clem Jones Park area was transferred to the Southbank Corporation, which was tasked with managing a new parkland precinct. In June 1989 submissions were sought from five architectural firms, and in August the "Media Five" concept of a mixed residential, commercial, and parkland development was chosen. Under Media Five's plans, the Peace Pagoda would be moved to the northern part of the parklands. The Media Five Chairman, Desmond Brooks, also suggested that Collins Place, the Plough Inn and the Allgas Building be removed to a historic village, but Vic Pullar rejected this idea. However, when the Southbank Corporation's Draft Development Plan was released in November 1989, it proposed to only keep the facades of the historic buildings. After protests by the National Trust, the State Government overruled the Southbank Corporation.
The proposed redevelopment included a waterway through the park, and a large lagoon, which was later downsized. In March 1990 the Final Plan was presented, after public submissions, and site redevelopment started in July 1990. The official Southbank Parklands opening occurred on 20 June 1992. The Waterway was later filled in and replaced with the Energex Arbour, which was officially opened in March 2000.
The transfer of the Peace Pagoda to its current site started on 24 September 1991. The deity of compassion was moved from the first floor to a glass case on the ground floor, the sides of the ground floor were encased in glass, and a display case was added inside. Access to the first floor was sealed off. The two smaller pavilions were also transferred, but their service windows were locked up. Two lion statues and two elephant statues were also relocated. The building was originally designed to be demountable, but it is currently set in a ceramic tiled floor. The Peace Pagoda was one of the best-loved exhibits at Expo 88, as visitors were able to relax in it away from the bustle of the crowds. Today it is still popular, both with tourists, and those who go there to meditate and reflect.
Despite late entrants into the Exposition due to domestic political measures, World Expo 88 attracted some 100 pavilions, from 52 governments, of which 36 were from international-level, and numerous corporate participants. Major western and European nations were represented such as the United States, the Soviet Union (last representation at a World Exposition), France, West Germany (also last representation at a World Exposition), the United Kingdom, Canada, Spain and Greece, as well as major Asian countries such as Singapore, Thailand, Nepal, Pakistan, China, Japan, Sri Lanka, South Korea, Indonesia, and the Philippines, and amongst others. Close neighbouring countries, New Zealand and Papua New Guinea were also represented.
State-level and multi-lateral organisations included the six Australian states, the United Nations, the European Union, Vatican City, three American states (Hawaii, California and Alaska), one Japanese prefecture (sister state of Queensland, Saitama Prefecture), and one Japanese city (Brisbane's sister city Kobe City).
Corporate pavilions included IBM, Ford, Fujitsu, Queensland Newspapers, Australia Post, Cadbury Chocolate, Suncorp, and the Queensland Teachers Credit Union. NASA and Universal Studios hosted outdoor exhibits, with models of the space shuttle and Apollo program, as well as the car KITT from the TV series Knight Rider. Also having its own pavilion was the official Australian TV partner of the Expo, Network Ten, via its Queensland station TVQ, whose news studios were located there for public tours and during the Expo also switched channel frequencies in September (from channel 0 to channel 10) in line with the other state channels.
The most expensive pavilion was Japan (A$26 million), followed by the Queensland Pavilion (A$20 million) and the Australia Pavilion (A$18 million). The largest Pavilions were also Queensland,[6] followed by Australia then Japan.
High Definition TV received its Australian premiere at the Japan Pavilion, and the text-based Internet at the Swiss Pavilion. At the University pavilion the world's longest lab experiment was on display. The pitch drop experiment, which features tar pitch slowly dripping through a funnel at a rate of nine drops in 81 years, actually made an unseen drop while on display.
Read more about Expo 88: blogs.archives.qld.gov.au/2021/10/29/when-the-world-comes...
vector control AC frequency inverters (VSD drives) on musical fountain for precision control: high response time.
V3D's superb Enviro 200 MMC mod of OMSI 2 was released last Friday - after an initial look at the bus I've set about creating TrentBarton's indigo livery for it.
Only the 4 cylinder engine variant is available in OMSI, so I probably won't do Mainline, Skylink and i4 liveries (but I might, you never know) - but I get the time to do the Mango spare livery then I probably will.
At this stage I still need to do the interior and fix some layer problems with the circle graphics over the rear wheels - plus (possibly) replace the rear indigo logo with frequency branding as appears on the real buses. Other than those couple of things, the exterior is pretty much complete now.
10th Mountain Division Commanding General Maj. Gen. Milford H. Beagle Jr. recognizes Soldiers from 1st Brigade Combat Team and 10th Combat Aviation Brigade for representing the division during the 2021 Noble Skywave Competition in which they won “The Best High-Frequency Radio Operators in The World for the 0 Watts- 150 Watts” category, on Nov. 29, 2021, on Fort Drum, NY. The Soldiers were each awarded The Army Achievement Medal for their accomplishment during the Canadian communications competition.
(U.S. Army photos by Spc. Josue Patricio)
Bathed in ultraviolet glow, she emerges like a signal from a parallel dreamscape—clear, confident, and vibrating on a higher plane. "Ultraviolet Lucid Frequency" is a portrait of perception untethered, where light becomes language and beauty pulses like sound. #UltravioletPortrait #DreamyVisuals #SurrealGlow #NeonAesthetic #LucidVibes
“If you want to find the secrets of the universe, think in terms of energy, frequency and vibration.”
Nikola Tesla
up: 2016/01/10
I Am But A Traveler in This Land & Know Little of Its Ways
BY DEAN YOUNG
Is everything a field of energy caused
by human projection? From the crib bars
hang the teething tools. Above the finger-drummed
desk, a bit lip. The cyclone fence of buts
surrounds the soccer field of what if.
Sometimes it seems like a world where no one
knows what he or she is doing, eight lanes
both directions. How about a polymer
that contracts in response to electrical
charge? A swimming pool on the 18th floor?
King Lear done by sock puppets? Anyone
who has traveled here knows the discrepancies
between idea and fact. The idea is the worm
in the tequila and the next day is the fact.
In between may be the sacred—real blood
from the wooden virgin’s eyes, and the hoax—
landing sites in cornfields. Maybe ideas
are best sprung from actions like the children
of Zeus. One gives us elastic and the omelette,
another nightmares and SUVs. There’s considerable
wobble in the system, and the fan belt screams,
waking the baby. Swaying in the darkened
nursery, kissing the baby-smelling head:
good idea! But also sadness looking at the sea.
The stranded whale, guided out of the cove
by tugboats, turns and swims back in.
The violinist will not let go her violin
which is 200 years old and still on the train
thus she is dragged down the track.
By what manner is the soul joined to the body?
Answer: an arm connecting a violin
to a violinist. According to Freud,
there are no accidents. Astrologists
and Presbyterians agree for different reasons.
You fall down the stairs with a birthday cake.
You try to fit a blunderbuss into a laptop.
Human consciousness: is it the projector
or the screen? They come in orange jumpsuits
and spray the grass so everything dies
but the grass. It is too late to ask Kafka
what he thinks. Sometimes they give you
a box of ash, a handshake, and the rest
is your problem. In one version,
the beggar turns out to be a king and grants
the poor couple a castle and a moat and two
silver horses said to be sired by the wind.
That was before dentistry, which might have been
a better gift. You did not want to get sick
in the 14th, 15th, 16th, 17th or 18th centuries.
So too the 19th and 20th were to be avoided
but the doctor coming to bleed you is the master
of the short story. After the kiss from whom
he will never know, the lieutenant, going home,
touches a bush in which birds are singing.
Dean Young, “I Am But a Traveler In This Land & Know Little of Its Ways” from Skid. Copyright © 2002 by Dean Young. All rights are controlled by the University of Pittsburgh Press. Reprinted with the permission of the University of Pittsburgh Press, www.pitt.edu/~press/.
Source: Skid (University of Pittsburgh Press, 2002)
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Final sequence from Michelangelo Antonioni's "Zabriskie Point" (1970)
Music by Pink Floyd: "Come In Number 51, Your Time Is Up"
Location: St. Luke's Garden, Tokyo, Japan.
Gear: Fujifilm X-T1 + Fujinon XF 55-200mm
Processing: Lightroom 5.5 + VSCO Film
Starring Peter Graves, Peggie Castle, Morris Ankrum, Than Wyenn, Thomas Browne Henry, Richard Benedict, James Seay, John Close, and Don C. Harvey. Directed by Bert I. Gordon.
This is the sort of film that producer/director Bert I. Gordon would become famous (or infamous) for. B.I.G. liked playing with relative size, making his antagonist(s) larger than life. The Beginning of the End (BotE) is an obvious rehash of Them! ('54) with radiation-induced giant bugs, but substituting grasshoppers for ants. Instead of menacing Los Angeles, these giant bugs go for Chicago. BotE is a cheaper copy in many ways, but still found a ready audience in the mid 50s. Some better-than-B actors helped keep BotE from foundering completely. Peter Graves is the male lead. He saved Killers from Space ('53) and It Conquered The World ('56) from total loser-dom. Peggie Castle was the female lead in Invasion USA. Morris Ankrum, veteran B-sci-fi actor, once again plays the stern military man as he had in Rocketship XM ('50), Invaders From Mars ('53) and others yet to come.
Plot Synopsis
People in rural Illinois are starting to disappear. Then a whole town of 150 is wiped out. Audrey (Castle) is a reporter who pushes for the story. Radiation might be the culprit, but no one has any nuclear material. She interviews Ed, an agricultural scientist (Graves), who has been growing giant tomatoes with the help of radiation. The isotopes are safely locked up, however. They travel to the site of a wiped out warehouse which stored tons of wheat. There, a giant grasshopper eats one of the scientists. Ordinary grasshoppers had munched on the giant tomatoes and so grew giant too. Hundreds of them mass in the woods. A National Guard unit's small arms can't stop them. They march towards Chicago, destroying Peoria and a couple others en route. The army's best tanks can't stop them. Panic ensues. Chicago is evacuated. The giant grasshoppers infest the Chicago area, but go semi-dormant during a cool night. Top brass in Washington plan bomb Chicago with an a-bomb to kill them while they're in one place. Ed and Audrey think they can find a sound that will attract the giants. If they could lure them into Lake Michigan, they'd all drown. They capture a live giant and bring it to the lab for tests. None of the sounds affect it. Time is almost out when they do find a frequency that works. Speakers are set up on one of Chicago's towers, to attract all the outlying bugs to downtown. Then a boat in the lake with a speaker will attract them to their doom. The plan works, though with a protracted fighting scene. In the end, they all drown. Chicago is saved. The End.
The giant bug (or other critter) sub-genre was only just getting started. We had ants in Them! and a spider in Tarantula. There will be many more to come, but this was an early one yet. The first half of the film, with it's mystery, is much better than the latter half. The relentless threat to a major city harkens to HG Wells' War of the Worlds. After that, it gets lame, but Graves and Ankrum don't disappoint.
While mostly an atomic radiation cautionary tale, there is the basic story line of a relentless force moving upon an American city. Panic, evacuation, a-bombs. It's all familiar Cold War material.
Popular Science magazines were bright with the prospect of what radiation-mutated crops might do for mankind. This is exactly what Ed was trying to do. As with all good naive scientists, he failed to see the bigger picture. Pests eat crops. Giant crops can create giant pests. The moral behind the film is that messing around with radiation can go horribly wrong.
Peggie Castle plays an obviously tough and independent reporter. She'd covered the destruction in WWII and Korea, written respected books and never once screamed like a girl. (she did scream when Frank was eaten, but it was more shock and a call for help than silly panic). Towards the end of the movie, she has less to do, and does lean in the chest of hero Ed (Graves), but she's on screen as more of an equal than a date.
A teen couple are necking on Lover's Lane. They get eaten. A pretty woman in only a towel is primping in her hotel room (back to the window). She gets eaten. Such scenes suggest to some viewers that Bert was giving subtle messages that being sexual is dangerous -- avoid it! This seems too flat. Instead, you could see the necking couple and the sexy woman as representing a very personal and vulnerable aspect of mankind. Intimate moments feel very vulnerable. Our outward mask of civilization is off. Like the lady in the hotel room, we're dressed in only a towel (not full battle gear). Attacks at those moments enhance the mood of vulnerability. It's not a subtle "don't neck" message (like anyone would ever listen to such a message anyhow).
One of the most memorable "special effects" of BotE is how regular grasshoppers (albeit big ones) are set loose to walk among or climb on photos of Chicago. As cheap as it is, this works pretty well. Note how they had cutouts of a line of busses from the same photo, set in front of the building plane, so grasshoppers could walk between them. Also note one scene where the set-back of the building is cut separately, so the grasshoppers can hang their legs over the parapet. Cheap as they are, these effects work better than the poorly done superimposition (green screen), which gets overused.
If you're a stock footage fan, you'll find a lot to love in BotE. Tanks on the road, Troops, crowds panicking. In fact, if you watch closely, you'll see one scene lifted from The Day The Earth Stood Still ('51).
The General Hanson character says the Air Force is sending a B-52 (then America's new super plane) with an A-bomb. When they show a clip of footage, it's actually a propeller-powered B-36, the old-tech behemoth the B-52 were designed to replace. Perhaps stock footage of the B-52, America's high-tech nuclear bomber, then operational for only a couple years, was not yet available, or deemed too sensitive to inclusion in B-movies.
One of the things that help a big bug movie work, is that the critter is somewhat fearful even when small. Ants are relentless (fire ants, army ants), many people are afraid of spiders, and later movies' scorpions and a mantis -- which are creepy looking, will have their traits magnified. But grasshoppers? They just don't inspire fear. BotE fights an uphill battle in trying to make them fearsome.
BotE makes good use of off-screen events. We are told the town of Ludlow was wiped out. All we see are stock clips of tornado damage. We only read of Peoria's destruction in a telegram. When anyone is 'eaten' by a giant grasshopper, we only see the giant lunge, the victim cower, then cut away. Good for budgets, but also kinder to audiences.
Despite the poster (in which the grasshoppers have curious teeth and fangs), they do not pick up anyone. In fact, they eat everyone quite fairly. One is implied to have eaten the lady in the towel, however, so there is at least a tiny delivery on what the poster promises.
Bottom line? BotE is another in the big bug sub-genre. If you like that sort, you'll likely gloss over the low budget short cuts. As a story, it's pretty conventional and doesn't break any new ground.
By 1957, producer/director Bert I. Gordon had already tackled giant monsters of all sorts with films like KING DINOSAUR and THE CYCLOPS. BEGINNING OF THE END was Mr. BIG's first nod to giant insects (in this case, giant grasshoppers), a subject he would unleash on us again in THE SPIDER (1958) and EMPIRE OF THE ANTS (1977). The hero of the film is the perfectly cast Peter Graves in his fourth and final 50s sci-fi thriller (the others were RED PLANET MARS, KILLERS FROM SPACE and IT CONQUERED THE WORLD).
Respected female journalist Audrey Ames (Peggy Castle, BACK FROM THE DEAD) drives to Ludlow, Illinois with reports that some 150 residents are missing. She then visits Doctor Ed Wainright (Graves), a young scientist experimenting with vegetables in the hopes that a busty reporter will do a story on him. Visiting the sight of a recent disaster, the doc and the reporter are confronted with humongous noisy locusts, and a silly deaf/mute character is stampeded to death. Meanwhile, the military is brought in (reinforced with ample stock footage), trying to decide how to destroy the buggers without having to set off an atom bomb on Chicago.
This is basically Mr. BIG's imitation of the bigger-budgeted THEM, and the results are a respectable 73 minutes. Sure, using real grasshoppers against rear-projection effects or crawling on a photograph of a building is not terribly convincing, but it still has a certain nostalgic charm to it. Castle does a fine job as the heroine, and Morris Ankrum (who played a general, doctor or cop in nearly every 50s sci-fi flick) and Thomas Browne Henry (BLOOD OF DRACULA, THE BRAIN FROM PLANET AROUS) represent the military. And who doesn't like Peter Graves? He was even likable as the Nazi spy in STALAG 17! The memorable music is by none other than Albert Glasser.
Having already received a DVD release through Rhino's "Mystery Science Theater 3000" series, it was a big surprise when Image Entertainment announced this title. But Image's version puts the previous one to shame and makes it obsolete, going back to the original camera negative for the transfer. BEGINNING TO THE END now looks crisp and clean, and the black and white image has intense detail. It's also Anamorphic and wonderfully letterboxed in its original 1.66:1 aspect ratio, thankfully covering previous open matte shots of the insects climbing off the peaks of photographed buildings. The audio is also excellent.
Also included is a full running commentary, moderated by producer/director Bruce Kimmel (THE FIRST NUDIE MUSICAL) that features Bert's ex-wife Flora (who assisted in the special effects) and daughter Susan (who appeared in some of his films, but not this one). The commentary is an OK listen, and although Kimmel is enthusiastic enough, there is a lack of research in the proceedings (Peggy Castle is discussed as if she's still living but she passed away 30 years ago). Not too much is learned from the two ladies (other then the "I" in Gordon's name stands for "Ira" and that only male grasshoppers were used in the film), but they still have a few nice anecdotes to tell. But one has to wonder why the alive and well Bert I. Gordon can't be coaxed into doing one of these things!
Selects of the 2016 Coachella Valley Music and Arts Festival (Saturday - Weekend 1)
feat.
The Dead Ships
Ex Hex
The Black Madonna
Strangers You Know
Lost Frequencies
James Bay
Rhye
CHVRCHES
Disclosure (feat. Sam Smith)
Ice Cube (feat. NWA, O'Shea Jackson Jr., WC, Snoop Dogg)
Guns N' Roses
Zhu (feat. Bone Thugs N' Harmony)
and so much more!
FILE MÍDIA ARTE | FILE MEDIA ART
Aaron Oldenburg – Baptize – Estados Unidos | United States
Alan Bigelow – Saving the alphabet - Estados Unidos | United States
Alan Bigelow – My summer vacation - Estados Unidos | United States
Alan Bigelow – Brainstrips - Estados Unidos | United States
Alice Bradshaw – Static - Reino Unido | United Kingdom
Alix Poscharsky - Arthur N. Ghell - Reino Unido | United Kingdom
Annette Weintraub - One Text, Many Stories [URBAN MEMORY LOSS: a Nightmare of Change in which Time is Inscribed in Space or How a Text Became a Story] - Estados Unidos | United States
Apokalipso: Rafael Gomes, Áthila Benites, Sávio Oliveira, Leandro Caro, Natanael Andrade, Fernando Gavronski & Fernanda Ferreiro – Senmorta – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Leonardo Domingues – A sorte – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Marcio Vieira – Mundo mudo - Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Filippe Lyra & William Paiva – Voltage - Brasil | Brazil
boredomresearch: Vicky Isley & Paul Smith – Lost Calls of Cloud Mountain Whirligigs (View 2, Right & Left) - Reino Unido | United Kingdom
Brad Todd - film noir – Canadá | Canada
Bruno M. Rocha, Camilo S. Lima, Caroline V. Costa & Daniela Bissoli - WIRESCAPES_simulação transversa de uma condição de metrópole - Brasil | Brazil
Calin Man - Have a Nice Click - Romênia | Romania
Caterina Davinio - The First Poetry Space Shuttle Landing on Second Life – Itália | Italy
Céline TROUILLET - Song No. 9 – França | France
Céline TROUILLET - Song No. 11 – França | France
Chris Coleman - The Magnitude of the Continental Divides – Estados Unidos | United States
Christin Bolewski - Shan-Shui-Hua – Alemanha | Germany
Coletivo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Repensando a Obra de arte repensada, Eu Tu Ele, Nós, Vós, Eles ou Labirinto Flutuante – Brasil | Brazil
Daito Manabe & Motoi ishibashi - Pa++ern – Brasil | Brazil
Danilo Guimarãres - (L) anos de Brasília! – Brasil | Brazil
David Clark, Marina Roy & Graham Meisner - Sign After The X - Canadá | Canada
Eric Schockmel - Occupation: Movement I (Syscape#4) - Reino Unido | United Kingdom
Fernanda Antoun - Um, Dois! Um, Dois! - Brasil | Brazil
Fundamental Research Lab: Robert B. Lisek – NEST – Polônia | Polony
Gabriela Golder – RESCATE – Argentina | Argentina
hint.fm: Fernanda Viegas & Martin Wattenberg – Fleshmap - Estados Unidos | United States
Hyun Ju Song - NOTHING IS FINISHED - Alemanha | Germany
Ivan Henriques – ReLandscaping - Holanda - Netherlands
Jason Nelson - Evidence of Everything Exploding - Austrália | Australia
Jonathan Monaghan - French Penguin - Estados Unidos | United States
Juliana Yamashita - Metro Tracks - Brasil | Brazil
Kevin Evensen – Danses - Estados Unidos | United States
Kika Nicolela – Flickering - Brasil | Brazil
Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard & Kristian Haarløv - Radiant Copenhagen - Dinamarca | Denmark
lemeh42 - Inner Klänge – Itália | Italy
Leonardo Uehara - An interactive sound tale - Brasil | Brazil
Martin John Callanan - I wanted to see all the news from today - Reino Unido | United Kingdom
Maya Watanabe – ABRASIS – França | France
Michael Takeo Magruder - Data_plex (economy) - Reino Unido | United Kingdom
Michael Takeo Magruder - Data_sea - Reino Unido | United Kingdom
Michele Barker & Anna Munster - Duchenne's Smile - Austrália | Australia
Miriam Thyes - Global Vulva - Alemanha | Germany
mitumBACK: Coelestine Engels, Markus Hafner & Christof Berthold – mitumBACK - Áustria | Austria
moddr: Gordan Savicic, Walter Langelaar & Danja Vassiliev - Web 2.0 Suicidemachine - Holanda - Netherlands
Não se Cale!: Amanda Miyuki de Sá, Danilo Polo Cain, Douglas Ferreira Neto, Fábio Henrique Alves Will, Patrícia Hitomi Nakazone, Talles Marques Duarte - NÃO SE CALE: A VIOLÊNCIA CONTRA A MULHER A PARTIR DAS PROPOSTAS FOTOGRÁFICAS DE BARBARA KRUGER – Brasil | Brazil
Nicholas Knouf – MAICgregator - Estados Unidos | United States
Nicole Kenney & KS Rives - Before I die I want to - Estados Unidos | United States
Nicole Stenger – DYNASTY - França | France
Osvaldo Cibils - 300x300artsport - Itália | Italy
Owen Eric Wood – Holobomo - Canadá | Canada
Owen Eric Wood – Parallel - Canadá | Canada
OZCAN TURKMEN - ENTROPIC POETRY - Turquia | Turkey
Pipol - TV Cronópios - Brasil | Brazil
Rachelmauricio – towtom - Brasil | Brazil
Rachelmauricio – TexET - Brasil | Brazil
Rachelmauricio - NO_HAHAB - Brasil | Brazil
Regina Pinto – AlphaAlpha - Brasil | Brazil
Regina Pinto - DAVID DANIEL'S 200+ HUMANS BEINGÈD HYMN TO HUMANITY - Brasil | Brazil
rgb3000 - superfreedraw.com - Alemanha | Germany
Richard O'Sullivan – Monitor - Reino Unido | United Kingdom
Richard O'Sullivan - Broken Windows - Reino Unido | United Kingdom
Roderick Coover – Canyonlands - Estados Unidos | United States
Roderick Coover - SOMETHING THAT HAPPENED ONLY ONCE - Estados Unidos | United States
Rosa Menkman - Glitch Studies Manifesto - Holanda - Netherlands
Rui Filipe Antunes - Senhora da Graça - Reino Unido | United Kingdom
Sally Grizell Larson – Axiom - Reino Unido | United Kingdom
Sergio Sotomayor - Madera (Wood) - Espanha | Spain
Silvia Laurentiz - Poesias Digitais: Projeto Percorrendo Escrituras - Brasil | Brazil
Spot - Dreams In High Fidelity II - Estados Unidos | United States
Stanza – Sondcities - Reino Unido | United Kingdom
Stuart Pound - Dance 0-19 - Reino Unido | United Kingdom
Stuart Pound - She's not there - Reino Unido | United Kingdom
Stuart Pound - Bus Stop version 2010 - Reino Unido | United Kingdom
Stuart Pound - Not you again! - Reino Unido | United Kingdom
Stuart Pound - Oh no, not you again! - Reino Unido | United Kingdom
Stuart Pound - Sticky Pixels - Reino Unido | United Kingdom
Susanne Berkenheger - The Last Days of Second Life - Alemanha | Germany
Tchello d'Barros - "Convergências" | "Convergences" - Brasil | Brazil
Tim Webster - Wonderlands: Machu Picchu - Austrália | Australia
Tina Velho - Tão longe...tão perto - Brasil | Brazil
Trace Sanderson aka Lainy Voom & Tamara Russel aka Gala Charron - Virtual Build Archive (VBA) - Reino Unido e Estados Unidos | United Kingdom and United States
Tuvalu Vizualization Project: Hidenori Watanave, Makiko Suzuki & Shuichi Endou - Tuvalu Vizualization Project - Japão | Japan
UBERMORGEN.COM - SUPERENCHANCED GENERATOR - Áustria | Austria
UBERMORGEN.COM - UGI - UNIVERSAL HEALTH - Áustria | Austria
VJ Eletro-I-MAN - Projeto Representa Corisco - Espanha | Spain
Wilton Azevedo, Rita Varlesi & Savana Pace – Atame: a Angústia do Precário - Brasil | Brazil
ZAO – hearts - Brasil | Brazil
HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS
++CAYCE POLLARD coletivodeartecomputacional; Nicolau Centola e Fabrizio Poltronieri - A Night in São Paulo - Brasil | Brazil
4propri8 - Junglow Drift - Brasil | Brazil
all your gardening needs – Arranco - Brasil | Brazil
Basavizi: André Damião Bandeira, Fernando Visockis & Sérgio Saad - HID - Human Improvisation Delight - Brasil | Brazil
Berger Rond - Stairs of Unsteady - Canadá | Canada
Carlos Dohrn - x → y - Brasil | Brazil
Carol Robinson – BILLOWS - França | France
Claudio Parodi - The Mother of All Feedback - Itália | Italy
Daniel Gazana - MISTÉRIO MUDO - Brasil | Brazil
Daniel Gazana - RE-CONNECT - Brasil | Brazil
Daniel Gazana - THE KINGDOM OF THE STEEL PORTAL - Brasil | Brazil
Danilo Rossetti - Metropolis parte 1 - Brasil | Brazil
Debashis Sinha - The Bell Garden - Canadá | Canada
Edilson Cardoso - Hâhnio - Ruídos para Filmes de Horror B - Brasil | Brazil
Eduardo Patrício - Electric Talk M.M.S. - Brasil | Brazil
Edwin Lo - Auditory Scenes: The other side of Tides in Limbo - China | China
Emanuele Battisti - Electrode - Study on Pink Noise N.1 - Itália | Italy
Felipe Kirst Adami - Piano Harm - Brasil | Brazil
Franklin Valverde – Sonóricos - Brasil | Brazil
Graeme Truslove - Divergent Dialogues - Reino Unido | United Kingdom
Graeme Truslove – Concrètisations - Reino Unido | United Kingdom
Graeme Truslove – Portals - Reino Unido | United Kingdom
Graeme Truslove – Elements - Reino Unido | United Kingdom
Gustavo Alfaix - (en)treses - Brasil | Brazil
John Young – Lamentations - Reino Unido | United Kingdom
Kunkuni Mix Project: Rosa Apablaza & Federico Duret - Posible Objetivo Patera - Holanda | Netherlands
Minusbaby - Subversive Motives in Chip Music or The 8bitpeople's party - Estados Unidos | United States
Ocp – Rejects - Portugal | Portugal
Panayiotis KOKORAS - Contruct Synthesis - Grécia | Greece
PAULO GUICHENEY - rec on struction - Brasil | Brazil
Philip Mantione - Dialtone and Strings - Estados Unidos | United States
Regina Porto - Metrópolis São Paulo - Brasil | Brazil
Rohan De Livera – Haiku - Sri Lanka | Sri Lanka
Secret Axis Sonic Collective: Vanderlei Lucentini, Kojiro Umezaki, Yann Novak, Manrico Montero, Terjen Paulsen, Adam Tindale, Scott Smalwood, Zbgniew Karkowski & Hangchul Ki - Secret Axis - Brasil | Brazil
SIMPLE.NORMAL: CLEBER GAZANA – CONSTRUCT - Brasil | Brazil
Sol Rezza - 25 segundos de vida - México | Mexico
The Tiny Orchestra - THE LANGUAGE OF WAITING - Canadá | Canada
Túlio Falcão - Túlio Falcão apresenta: a música de Enrorlando di Falcus - Brasil | Brazil
Vanessa Rossetto - Dogs in English Porcelain - Estados Unidos | United States
Victor Valentim – Estralactides - Brasil | Brazil
HIPERSÔNICA SCREENING – HYPERSONICA SCREENING
Daniel Gazana - MAN-MACHINE-TIME - Brasil | Brazil
Eduardo Raccah – EY - Alemanha | Germany
Fernando Velázquez - SP, automata landscape - Brasil | Brazil
Jaap: Harriet Payer Anderss, Jorge Esquivelzeta - Sound of this City - México | Mexico
Pink Twins - Defenestrator - Finlândia | Finland
Roberto Doati – Sindrome scamosciata - Itália | Italy
Rodrigo F. Cadiz - ID-FUSIONES - Chile | Chile
Sandra Crisp – Oceanics - Reino Unido | United Kingdom
Soundsthatmatter – skinstryment - Brasil | Brazil
Soundsthatmatter – bwavssh - Brasil | Brazil
Soundsthatmatter – soundstrain - Brasil | Brazil
FILE MAQUINEMA | FILE MACHINIMA
Andrzej Kozlowski aka CapKosmaty - Apocalypsis Ex Machinima - Polônia | Poland
Annie Ok - My life as an avatar (03-10) - Estados Unidos | United States
Annie Ok - My life as an avatar (04-08) - Estados Unidos | United States
Annie Ok - My life as an avatar (06-08) - Estados Unidos | United States
Basile Vignes aka Tutsy Navarathna - To Each one his own Dreams - Índia | India
Basile Vignes aka Tutsy Navarathna - Vegetal Planet - Índia | India
Berardo Carboni aka Finally Outlander – Volavola - Itália | Italy
Bernard Capitaine aka Iono Allen - The story of Susa Bubble - França | France
Chantal Gerads aka Chantal Harvey - A Woman´s Trial - Holanda | Netherlands
Corndog & Oil Tiger Machinima Team - War of Internet Addiction - China | China
Daniel Wasiluk aka Surgee - The Demise - Polônia | Poland
Egils Mednis aka Demoplay - The Ship - Letônia | Latvia
Elise Carlson aka Lyric Lundquist - Cradle and Trap - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Cyberspace is Vast - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Sideways Time - Estados Unidos | United States
Elizabeth Pickrd aka Liz Solo - The Death of an avatar - Canadá | Canada
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions – Clockwork - Estados Unidos | United States
Iain Friar aka IceAxe – Clockwork - Reino Unido | United Kingdom
Iain Friar aka IceAxe – Embers - Reino Unido | United Kingdom
J. Joshua Diltz - Six Days - Estados Unidos | United States
James Thorpe aka Blackace - Daddy is Home - Reino Unido | United Kingdom
Les Riches Douaniers: Gilles Richard & Fabrice Zoll - Chevauchée Nocturne - França | France
Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Kamikaze - França | France
Luca Lisci aka Voom – Prometheus - Itália | Italy
Luca Lisci aka Voom - The Blue Planet - Itália | Italy
Luca Lisci aka Voom - Valentina 'Riflesso' - Itália | Italy
Mark Capell aka Hardy Capo - Control Point - Reino Unido | United Kingdom
Miguel Moreira aka Hadj Ling - The Black Chant - Portugal | Portugal
Pineapple Pictures: Kate Fosk & Michael Joyce – Voices - Reino Unido | United Kingdom
Piotr Kopik - Big Psomm 2 - Polônia | Poland
Rob Wright aka Robbie Dingo - Watch the world(s) - Reino Unido | United Kingdom
Sam Goldwater aka Lorka - The Monad - Reino Unido | United Kingdom
Simone Schleu aka Sisch - Saving Grace - Alemanha | Germany
Simone Schleu aka Sisch – Transient - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Erlköning - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Handschuh - Alemanha | Germany
Tobias Lundmark aka Dopefish & Malu05 - Among Fables and Men - Suécia | Sweden
Tom Jantol - Brief Encounter - Croácia | Croatia
Tom Jantol - Wizard of OS: The Fish Incident - Croácia | Croatia
Tony Bannan aka Ammo Previz - Folie à Deux - Austrália | Australia
Trace Sanderson aka Lainy Voom – Fall - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Postcard - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Push - Reino Unido | United Kingdom
Van Aerden & Nicolas Bonne – Metabup - França | France
Van Aerden & Nicolas Bonne - Transbup (Trailer) - França | France
Vivian Kendall aka Osprey Therian - Alazi Sautereau - Estados Unidos | United States
Vivian Kendall aka Osprey Therian - Virtual Reality in the Future - Estados Unidos | United States
Zachariah Scott - Jill´s song - Estados Unidos | United States
GAMES
Alexandre Machado | 44 Bico Largo - Robo Sucata - Brasil | Brazil
Behold Studios | Buraco de Bala - Luna - Magnetoware Adventures - Brasil | Brazil
Eddy Boxerman & Dave Burke – Osmos - Canadá | Canada
Elias Holmlid, Dmitri Kurteanu, Guy Lima Jr. & Stefan Mikaelsson – Continuity - Suécia | Sweden
Erik Svedäng - Blueberry Garden - Suécia | Sweden
Florian Faller & Adrian Stutz – Feist - Suíça | Switzerland
Grupo Yellow Jam: Luciano José Firmino Júnior, Luiz José Barbosa de Moura Souza, Rafael Valle Barradas & Heloise Dantas Oliveira - Last Hope - Brasil | Brazil
Guilherme Bischoff, Francesco Sciamarella, Cauê Madeira & Evandro Valente | Kidguru Studios – Lumaki - Brasil | Brazil
Jairo Margatho | Overplay - Night Life - Brasil | Brazil
Joannie Wu & Lee Byron – Fireflies - Estados Unidos | United States
Kokoromi & Polytron - super HYPERCUBE - Canada | Canadá
Leonardo Arantes | Isis Interactive Graphics - Freestyle Challenge - Brasil | Brazil
Luiz Gerosa | Interama - Esther Art Gallery - Brasil | Brazil
Paulo Biagioni – Mutualismo - Brasil | Brazil
Philip Mangione - Chameleon Puzzle Runners - Brasil | Brazil
Q-Games - PixelJunk Eden - Japão | Japan
Rafael Fernandes | TecToy Digital - Vovó a solta - Brasil | Brazil
Rob Jagnow – Cogs - Estados Unidos | United States
Steph Thirion – Eliss - Portugal | Portugal
Tales of Tales – Vanitas - Belgica | Belgium
Tiago Fernandes | TecToy Digital - Dragon vs Heroes - Brasil | Brazil
Tiger Style Games - Spider: The Secret of Bryce Manor - Estados Unidos | United States
Tyler Glaiel – Closure - Estados Unidos | United States
Petri Purho - Crayon Physics Deluxe - Finlândia | Finland
INSTALAÇÕES | INSTALLATIONS
Andrew Hieronymi - Virtual Ground - Estados Unidos | United States
Corby & Baily, Jonathan Mackenzie - Southern Ocean Studies # 1.0 - Reino Unido | United Kingdom
Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – SuperFluidity - França | France
Ernesto Klar - Luzes relacionais (Relational Lights) - Estados Unidos e Venezuela | United States and Venezuela
Guto Nóbrega – Breathing - Brasil | Brazil
Jarbas Jácome – Vitalino - Brasil | Brazil
Jeraman & Filipe Calegario - Marvim Gainsbug - Brasil | Brazil
Jonas Bohatsch - v+ - Áustria | Austria
Jörg Piringer - abcdefghijklmnopqrstuvwxyz for iPhone - Áustria | Austria
Jorge Luis Crowe - 2x (Power of two) - Argentina | Argentina
José Luis de Vicente, Irma Vilà & Bestiario - Atlas of Electromagnetic Space - Espanha | Spain
Keiko Takahashi & Shinji Sasada - Diorama Table - Japão | Japan
LEMUR: League of Electronic Musical Urban Robots & Eric Singer - LEMUR GuitarBot II - Estados Unidos | United States
Luo, He-Lin & Chen, I- Chun - Light Calligraphy - Taiwan (R.O.C.) | Taiwan (R.O.C.)
Markus Decker, Dietmar Offenhuber & Ushi Reiter - From Dust Till Dawn - Áustria | Austria
MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Mediaflow - Alemanha | Germany
Muk - disc.o - Áustria | Austria
Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla - Hi! A real human interface - Espanha | Spain
Myrto Karanika & Jeremy Keenan – Strings - Reino Unido | United Kingdom
Pierre Proske - Frame Seductions - França e Austrália | France and Australia
Rachel Zuanon & Geraldo Lima – BioBodyGame - Brasil | Brazil
Raquel Kogan – Reler - Brasil | Brazil
Ricardo Barreto, Maria Hsu & AMUDI: Núcleo de Arte e Tecnologia da Escola Politécnica de Engenharia da USP: Breno Flesch Franco, Daniel Augusto Azevedo Moori, Erica Usui, Guilherme Wang de Farias Barros, João Flesch Fortes, Leandro Molon e Nadia Sumie Nobre Ota – feelMe - Brasil | Brazil
Ricardo Brazileiro – METROBANG - Brasil | Brazil
Rob Seward - Death Death Death - Estados Unidos | United States
Robert Mathy - Light Frequency Fingertips - Áustria | Austria
Sebastian Schmieg - Roy Block - Alemanha | Germany
SWAMP: Douglas Easterly, Matt Kenyon & Tiago Rorke – Tardigotchi - Nova Zelândia | New Zealand
Yacine Sebti - Jump! - Bélgica e Marrocos | Belgium and Morocco
PERFORMANCE
27/07
Minusbaby (Richard Alexander Caraballo) - Subversive Motives in Chip Music, or The 8bitpeoples' Party - Estados Unidos | United States
Celia Eid, Sébastien Béranger & Amilcar Zani – Dislocations - Brasil | Brazil
28/07
Jaime E Oliver LR - Silent Percussion Project - Peru | Peru
Panetone - Short lived like a butterfly - Brasil | Brazil
29/07
HEARTCHAMBERORCHESTRA - TERMINALBEACH: Erich Berger [Áustria e Finlândia | Austria and Finland] & Peter Votava [Áustria e Alemanha | Austria and Germany]
30/07
MooM: Dino Vicente & Bill Meirelles - Câmara Secreta - Brasil | Brazil
Ricardo Carioba - dáblio (w) - Brasil | Brazil
DOCUMENTA
27/07
Gustavo Godinho & Vladimir Cunha - Brega S/A- Brasil | Brazil
Claudio Mojope - Talk o Meu Coração ZunZunZunTV - Brasil | Brazil
28/07
Andreas Johnsen & Rasmus Poulsen - Man Ooman (Man Woman) - Dinamarca | Denmark
Fenton Bayle & Randy Barbato - Party Monster: The Shockumentary - Estados Unidos | United States
29/07
João Wainer & Roberto T. Oliveira – PIXO - Brasil | Brazil
Otávio Donasci - 30 Anos de Vídeocriaturas - Brasil | Brazil
30/07
Andreas Johnsen - Good Copy Bad Copy - Dinamarca | Denmark
Robert Baca & Joshua Rizzo - Welcome to Macintosh - Estados Unidos | United States
FILE MÍDIA ARTE | FILE MEDIA ART
Aaron Oldenburg – Baptize – Estados Unidos | United States
Alan Bigelow – Saving the alphabet - Estados Unidos | United States
Alan Bigelow – My summer vacation - Estados Unidos | United States
Alan Bigelow – Brainstrips - Estados Unidos | United States
Alice Bradshaw – Static - Reino Unido | United Kingdom
Alix Poscharsky - Arthur N. Ghell - Reino Unido | United Kingdom
Annette Weintraub - One Text, Many Stories [URBAN MEMORY LOSS: a Nightmare of Change in which Time is Inscribed in Space or How a Text Became a Story] - Estados Unidos | United States
Apokalipso: Rafael Gomes, Áthila Benites, Sávio Oliveira, Leandro Caro, Natanael Andrade, Fernando Gavronski & Fernanda Ferreiro – Senmorta – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Leonardo Domingues – A sorte – Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Marcio Vieira – Mundo mudo - Brasil | Brazil
Bam Studio - Estudio de Animação Barros Melo: Filippe Lyra & William Paiva – Voltage - Brasil | Brazil
boredomresearch: Vicky Isley & Paul Smith – Lost Calls of Cloud Mountain Whirligigs (View 2, Right & Left) - Reino Unido | United Kingdom
Brad Todd - film noir – Canadá | Canada
Bruno M. Rocha, Camilo S. Lima, Caroline V. Costa & Daniela Bissoli - WIRESCAPES_simulação transversa de uma condição de metrópole - Brasil | Brazil
Calin Man - Have a Nice Click - Romênia | Romania
Caterina Davinio - The First Poetry Space Shuttle Landing on Second Life – Itália | Italy
Céline TROUILLET - Song No. 9 – França | France
Céline TROUILLET - Song No. 11 – França | France
Chris Coleman - The Magnitude of the Continental Divides – Estados Unidos | United States
Christin Bolewski - Shan-Shui-Hua – Alemanha | Germany
Coletivo Vertigem: Juliana Rodrigues, Natalia Santana & Ygor Ferreira - Repensando a Obra de arte repensada, Eu Tu Ele, Nós, Vós, Eles ou Labirinto Flutuante – Brasil | Brazil
Daito Manabe & Motoi ishibashi - Pa++ern – Brasil | Brazil
Danilo Guimarãres - (L) anos de Brasília! – Brasil | Brazil
David Clark, Marina Roy & Graham Meisner - Sign After The X - Canadá | Canada
Eric Schockmel - Occupation: Movement I (Syscape#4) - Reino Unido | United Kingdom
Fernanda Antoun - Um, Dois! Um, Dois! - Brasil | Brazil
Fundamental Research Lab: Robert B. Lisek – NEST – Polônia | Polony
Gabriela Golder – RESCATE – Argentina | Argentina
hint.fm: Fernanda Viegas & Martin Wattenberg – Fleshmap - Estados Unidos | United States
Hyun Ju Song - NOTHING IS FINISHED - Alemanha | Germany
Ivan Henriques – ReLandscaping - Holanda - Netherlands
Jason Nelson - Evidence of Everything Exploding - Austrália | Australia
Jonathan Monaghan - French Penguin - Estados Unidos | United States
Juliana Yamashita - Metro Tracks - Brasil | Brazil
Kevin Evensen – Danses - Estados Unidos | United States
Kika Nicolela – Flickering - Brasil | Brazil
Kristoffer Ørum, Anders Bojen, Rune Graulund, Maja Zander, Kaspar Bonnén, Stig W. Jørgensen, Palle R Jensen, Ida Marie Hede Bertelsen, Peter Rasmussen, Kasper Hesselbjerg, Ulrik Nørgaard, Daphne Bidstrup, Andreas Pallisgaard & Kristian Haarløv - Radiant Copenhagen - Dinamarca | Denmark
lemeh42 - Inner Klänge – Itália | Italy
Leonardo Uehara - An interactive sound tale - Brasil | Brazil
Martin John Callanan - I wanted to see all the news from today - Reino Unido | United Kingdom
Maya Watanabe – ABRASIS – França | France
Michael Takeo Magruder - Data_plex (economy) - Reino Unido | United Kingdom
Michael Takeo Magruder - Data_sea - Reino Unido | United Kingdom
Michele Barker & Anna Munster - Duchenne's Smile - Austrália | Australia
Miriam Thyes - Global Vulva - Alemanha | Germany
mitumBACK: Coelestine Engels, Markus Hafner & Christof Berthold – mitumBACK - Áustria | Austria
moddr: Gordan Savicic, Walter Langelaar & Danja Vassiliev - Web 2.0 Suicidemachine - Holanda - Netherlands
Não se Cale!: Amanda Miyuki de Sá, Danilo Polo Cain, Douglas Ferreira Neto, Fábio Henrique Alves Will, Patrícia Hitomi Nakazone, Talles Marques Duarte - NÃO SE CALE: A VIOLÊNCIA CONTRA A MULHER A PARTIR DAS PROPOSTAS FOTOGRÁFICAS DE BARBARA KRUGER – Brasil | Brazil
Nicholas Knouf – MAICgregator - Estados Unidos | United States
Nicole Kenney & KS Rives - Before I die I want to - Estados Unidos | United States
Nicole Stenger – DYNASTY - França | France
Osvaldo Cibils - 300x300artsport - Itália | Italy
Owen Eric Wood – Holobomo - Canadá | Canada
Owen Eric Wood – Parallel - Canadá | Canada
OZCAN TURKMEN - ENTROPIC POETRY - Turquia | Turkey
Pipol - TV Cronópios - Brasil | Brazil
Rachelmauricio – towtom - Brasil | Brazil
Rachelmauricio – TexET - Brasil | Brazil
Rachelmauricio - NO_HAHAB - Brasil | Brazil
Regina Pinto – AlphaAlpha - Brasil | Brazil
Regina Pinto - DAVID DANIEL'S 200+ HUMANS BEINGÈD HYMN TO HUMANITY - Brasil | Brazil
rgb3000 - superfreedraw.com - Alemanha | Germany
Richard O'Sullivan – Monitor - Reino Unido | United Kingdom
Richard O'Sullivan - Broken Windows - Reino Unido | United Kingdom
Roderick Coover – Canyonlands - Estados Unidos | United States
Roderick Coover - SOMETHING THAT HAPPENED ONLY ONCE - Estados Unidos | United States
Rosa Menkman - Glitch Studies Manifesto - Holanda - Netherlands
Rui Filipe Antunes - Senhora da Graça - Reino Unido | United Kingdom
Sally Grizell Larson – Axiom - Reino Unido | United Kingdom
Sergio Sotomayor - Madera (Wood) - Espanha | Spain
Silvia Laurentiz - Poesias Digitais: Projeto Percorrendo Escrituras - Brasil | Brazil
Spot - Dreams In High Fidelity II - Estados Unidos | United States
Stanza – Sondcities - Reino Unido | United Kingdom
Stuart Pound - Dance 0-19 - Reino Unido | United Kingdom
Stuart Pound - She's not there - Reino Unido | United Kingdom
Stuart Pound - Bus Stop version 2010 - Reino Unido | United Kingdom
Stuart Pound - Not you again! - Reino Unido | United Kingdom
Stuart Pound - Oh no, not you again! - Reino Unido | United Kingdom
Stuart Pound - Sticky Pixels - Reino Unido | United Kingdom
Susanne Berkenheger - The Last Days of Second Life - Alemanha | Germany
Tchello d'Barros - "Convergências" | "Convergences" - Brasil | Brazil
Tim Webster - Wonderlands: Machu Picchu - Austrália | Australia
Tina Velho - Tão longe...tão perto - Brasil | Brazil
Trace Sanderson aka Lainy Voom & Tamara Russel aka Gala Charron - Virtual Build Archive (VBA) - Reino Unido e Estados Unidos | United Kingdom and United States
Tuvalu Vizualization Project: Hidenori Watanave, Makiko Suzuki & Shuichi Endou - Tuvalu Vizualization Project - Japão | Japan
UBERMORGEN.COM - SUPERENCHANCED GENERATOR - Áustria | Austria
UBERMORGEN.COM - UGI - UNIVERSAL HEALTH - Áustria | Austria
VJ Eletro-I-MAN - Projeto Representa Corisco - Espanha | Spain
Wilton Azevedo, Rita Varlesi & Savana Pace – Atame: a Angústia do Precário - Brasil | Brazil
ZAO – hearts - Brasil | Brazil
HIPERSÔNICA PARTICIPANTES | HYPERSONICA PARTICIPANTS
++CAYCE POLLARD coletivodeartecomputacional; Nicolau Centola e Fabrizio Poltronieri - A Night in São Paulo - Brasil | Brazil
4propri8 - Junglow Drift - Brasil | Brazil
all your gardening needs – Arranco - Brasil | Brazil
Basavizi: André Damião Bandeira, Fernando Visockis & Sérgio Saad - HID - Human Improvisation Delight - Brasil | Brazil
Berger Rond - Stairs of Unsteady - Canadá | Canada
Carlos Dohrn - x → y - Brasil | Brazil
Carol Robinson – BILLOWS - França | France
Claudio Parodi - The Mother of All Feedback - Itália | Italy
Daniel Gazana - MISTÉRIO MUDO - Brasil | Brazil
Daniel Gazana - RE-CONNECT - Brasil | Brazil
Daniel Gazana - THE KINGDOM OF THE STEEL PORTAL - Brasil | Brazil
Danilo Rossetti - Metropolis parte 1 - Brasil | Brazil
Debashis Sinha - The Bell Garden - Canadá | Canada
Edilson Cardoso - Hâhnio - Ruídos para Filmes de Horror B - Brasil | Brazil
Eduardo Patrício - Electric Talk M.M.S. - Brasil | Brazil
Edwin Lo - Auditory Scenes: The other side of Tides in Limbo - China | China
Emanuele Battisti - Electrode - Study on Pink Noise N.1 - Itália | Italy
Felipe Kirst Adami - Piano Harm - Brasil | Brazil
Franklin Valverde – Sonóricos - Brasil | Brazil
Graeme Truslove - Divergent Dialogues - Reino Unido | United Kingdom
Graeme Truslove – Concrètisations - Reino Unido | United Kingdom
Graeme Truslove – Portals - Reino Unido | United Kingdom
Graeme Truslove – Elements - Reino Unido | United Kingdom
Gustavo Alfaix - (en)treses - Brasil | Brazil
John Young – Lamentations - Reino Unido | United Kingdom
Kunkuni Mix Project: Rosa Apablaza & Federico Duret - Posible Objetivo Patera - Holanda | Netherlands
Minusbaby - Subversive Motives in Chip Music or The 8bitpeople's party - Estados Unidos | United States
Ocp – Rejects - Portugal | Portugal
Panayiotis KOKORAS - Contruct Synthesis - Grécia | Greece
PAULO GUICHENEY - rec on struction - Brasil | Brazil
Philip Mantione - Dialtone and Strings - Estados Unidos | United States
Regina Porto - Metrópolis São Paulo - Brasil | Brazil
Rohan De Livera – Haiku - Sri Lanka | Sri Lanka
Secret Axis Sonic Collective: Vanderlei Lucentini, Kojiro Umezaki, Yann Novak, Manrico Montero, Terjen Paulsen, Adam Tindale, Scott Smalwood, Zbgniew Karkowski & Hangchul Ki - Secret Axis - Brasil | Brazil
SIMPLE.NORMAL: CLEBER GAZANA – CONSTRUCT - Brasil | Brazil
Sol Rezza - 25 segundos de vida - México | Mexico
The Tiny Orchestra - THE LANGUAGE OF WAITING - Canadá | Canada
Túlio Falcão - Túlio Falcão apresenta: a música de Enrorlando di Falcus - Brasil | Brazil
Vanessa Rossetto - Dogs in English Porcelain - Estados Unidos | United States
Victor Valentim – Estralactides - Brasil | Brazil
HIPERSÔNICA SCREENING – HYPERSONICA SCREENING
Daniel Gazana - MAN-MACHINE-TIME - Brasil | Brazil
Eduardo Raccah – EY - Alemanha | Germany
Fernando Velázquez - SP, automata landscape - Brasil | Brazil
Jaap: Harriet Payer Anderss, Jorge Esquivelzeta - Sound of this City - México | Mexico
Pink Twins - Defenestrator - Finlândia | Finland
Roberto Doati – Sindrome scamosciata - Itália | Italy
Rodrigo F. Cadiz - ID-FUSIONES - Chile | Chile
Sandra Crisp – Oceanics - Reino Unido | United Kingdom
Soundsthatmatter – skinstryment - Brasil | Brazil
Soundsthatmatter – bwavssh - Brasil | Brazil
Soundsthatmatter – soundstrain - Brasil | Brazil
FILE MAQUINEMA | FILE MACHINIMA
Andrzej Kozlowski aka CapKosmaty - Apocalypsis Ex Machinima - Polônia | Poland
Annie Ok - My life as an avatar (03-10) - Estados Unidos | United States
Annie Ok - My life as an avatar (04-08) - Estados Unidos | United States
Annie Ok - My life as an avatar (06-08) - Estados Unidos | United States
Basile Vignes aka Tutsy Navarathna - To Each one his own Dreams - Índia | India
Basile Vignes aka Tutsy Navarathna - Vegetal Planet - Índia | India
Berardo Carboni aka Finally Outlander – Volavola - Itália | Italy
Bernard Capitaine aka Iono Allen - The story of Susa Bubble - França | France
Chantal Gerads aka Chantal Harvey - A Woman´s Trial - Holanda | Netherlands
Corndog & Oil Tiger Machinima Team - War of Internet Addiction - China | China
Daniel Wasiluk aka Surgee - The Demise - Polônia | Poland
Egils Mednis aka Demoplay - The Ship - Letônia | Latvia
Elise Carlson aka Lyric Lundquist - Cradle and Trap - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Cyberspace is Vast - Estados Unidos | United States
Elise Carlson aka Lyric Lundquist - Sideways Time - Estados Unidos | United States
Elizabeth Pickrd aka Liz Solo - The Death of an avatar - Canadá | Canada
Harrison Heller aka Nefarious Guy & Amorphous Blob Productions – Clockwork - Estados Unidos | United States
Iain Friar aka IceAxe – Clockwork - Reino Unido | United Kingdom
Iain Friar aka IceAxe – Embers - Reino Unido | United Kingdom
J. Joshua Diltz - Six Days - Estados Unidos | United States
James Thorpe aka Blackace - Daddy is Home - Reino Unido | United Kingdom
Les Riches Douaniers: Gilles Richard & Fabrice Zoll - Chevauchée Nocturne - França | France
Les Riches Douaniers: Gilles Richard & Fabrice Zoll – Kamikaze - França | France
Luca Lisci aka Voom – Prometheus - Itália | Italy
Luca Lisci aka Voom - The Blue Planet - Itália | Italy
Luca Lisci aka Voom - Valentina 'Riflesso' - Itália | Italy
Mark Capell aka Hardy Capo - Control Point - Reino Unido | United Kingdom
Miguel Moreira aka Hadj Ling - The Black Chant - Portugal | Portugal
Pineapple Pictures: Kate Fosk & Michael Joyce – Voices - Reino Unido | United Kingdom
Piotr Kopik - Big Psomm 2 - Polônia | Poland
Rob Wright aka Robbie Dingo - Watch the world(s) - Reino Unido | United Kingdom
Sam Goldwater aka Lorka - The Monad - Reino Unido | United Kingdom
Simone Schleu aka Sisch - Saving Grace - Alemanha | Germany
Simone Schleu aka Sisch – Transient - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Erlköning - Alemanha | Germany
The Do Group: Clemens Fobianke aka Cisko Vandeverre - Der Handschuh - Alemanha | Germany
Tobias Lundmark aka Dopefish & Malu05 - Among Fables and Men - Suécia | Sweden
Tom Jantol - Brief Encounter - Croácia | Croatia
Tom Jantol - Wizard of OS: The Fish Incident - Croácia | Croatia
Tony Bannan aka Ammo Previz - Folie à Deux - Austrália | Australia
Trace Sanderson aka Lainy Voom – Fall - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Postcard - Reino Unido | United Kingdom
Trace Sanderson aka Lainy Voom – Push - Reino Unido | United Kingdom
Van Aerden & Nicolas Bonne – Metabup - França | France
Van Aerden & Nicolas Bonne - Transbup (Trailer) - França | France
Vivian Kendall aka Osprey Therian - Alazi Sautereau - Estados Unidos | United States
Vivian Kendall aka Osprey Therian - Virtual Reality in the Future - Estados Unidos | United States
Zachariah Scott - Jill´s song - Estados Unidos | United States
GAMES
Alexandre Machado | 44 Bico Largo - Robo Sucata - Brasil | Brazil
Behold Studios | Buraco de Bala - Luna - Magnetoware Adventures - Brasil | Brazil
Eddy Boxerman & Dave Burke – Osmos - Canadá | Canada
Elias Holmlid, Dmitri Kurteanu, Guy Lima Jr. & Stefan Mikaelsson – Continuity - Suécia | Sweden
Erik Svedäng - Blueberry Garden - Suécia | Sweden
Florian Faller & Adrian Stutz – Feist - Suíça | Switzerland
Grupo Yellow Jam: Luciano José Firmino Júnior, Luiz José Barbosa de Moura Souza, Rafael Valle Barradas & Heloise Dantas Oliveira - Last Hope - Brasil | Brazil
Guilherme Bischoff, Francesco Sciamarella, Cauê Madeira & Evandro Valente | Kidguru Studios – Lumaki - Brasil | Brazil
Jairo Margatho | Overplay - Night Life - Brasil | Brazil
Joannie Wu & Lee Byron – Fireflies - Estados Unidos | United States
Kokoromi & Polytron - super HYPERCUBE - Canada | Canadá
Leonardo Arantes | Isis Interactive Graphics - Freestyle Challenge - Brasil | Brazil
Luiz Gerosa | Interama - Esther Art Gallery - Brasil | Brazil
Paulo Biagioni – Mutualismo - Brasil | Brazil
Philip Mangione - Chameleon Puzzle Runners - Brasil | Brazil
Q-Games - PixelJunk Eden - Japão | Japan
Rafael Fernandes | TecToy Digital - Vovó a solta - Brasil | Brazil
Rob Jagnow – Cogs - Estados Unidos | United States
Steph Thirion – Eliss - Portugal | Portugal
Tales of Tales – Vanitas - Belgica | Belgium
Tiago Fernandes | TecToy Digital - Dragon vs Heroes - Brasil | Brazil
Tiger Style Games - Spider: The Secret of Bryce Manor - Estados Unidos | United States
Tyler Glaiel – Closure - Estados Unidos | United States
Petri Purho - Crayon Physics Deluxe - Finlândia | Finland
INSTALAÇÕES | INSTALLATIONS
Andrew Hieronymi - Virtual Ground - Estados Unidos | United States
Corby & Baily, Jonathan Mackenzie - Southern Ocean Studies # 1.0 - Reino Unido | United Kingdom
Electronic Shadow: Naziha Mestaoui & Yacine Aït Kaci – SuperFluidity - França | France
Ernesto Klar - Luzes relacionais (Relational Lights) - Estados Unidos e Venezuela | United States and Venezuela
Guto Nóbrega – Breathing - Brasil | Brazil
Jarbas Jácome – Vitalino - Brasil | Brazil
Jeraman & Filipe Calegario - Marvim Gainsbug - Brasil | Brazil
Jonas Bohatsch - v+ - Áustria | Austria
Jörg Piringer - abcdefghijklmnopqrstuvwxyz for iPhone - Áustria | Austria
Jorge Luis Crowe - 2x (Power of two) - Argentina | Argentina
José Luis de Vicente, Irma Vilà & Bestiario - Atlas of Electromagnetic Space - Espanha | Spain
Keiko Takahashi & Shinji Sasada - Diorama Table - Japão | Japan
LEMUR: League of Electronic Musical Urban Robots & Eric Singer - LEMUR GuitarBot II - Estados Unidos | United States
Luo, He-Lin & Chen, I- Chun - Light Calligraphy - Taiwan (R.O.C.) | Taiwan (R.O.C.)
Markus Decker, Dietmar Offenhuber & Ushi Reiter - From Dust Till Dawn - Áustria | Austria
MARS: Media Arts Research Studies: Monika Fleischmann & Wolfgang Strauss – Mediaflow - Alemanha | Germany
Muk - disc.o - Áustria | Austria
Multitouch Barcelona: Dani Armengol, Roger Pujol, Xavier Vilar & Pol Pla - Hi! A real human interface - Espanha | Spain
Myrto Karanika & Jeremy Keenan – Strings - Reino Unido | United Kingdom
Pierre Proske - Frame Seductions - França e Austrália | France and Australia
Rachel Zuanon & Geraldo Lima – BioBodyGame - Brasil | Brazil
Raquel Kogan – Reler - Brasil | Brazil
Ricardo Barreto, Maria Hsu & AMUDI: Núcleo de Arte e Tecnologia da Escola Politécnica de Engenharia da USP: Breno Flesch Franco, Daniel Augusto Azevedo Moori, Erica Usui, Guilherme Wang de Farias Barros, João Flesch Fortes, Leandro Molon e Nadia Sumie Nobre Ota – feelMe - Brasil | Brazil
Ricardo Brazileiro – METROBANG - Brasil | Brazil
Rob Seward - Death Death Death - Estados Unidos | United States
Robert Mathy - Light Frequency Fingertips - Áustria | Austria
Sebastian Schmieg - Roy Block - Alemanha | Germany
SWAMP: Douglas Easterly, Matt Kenyon & Tiago Rorke – Tardigotchi - Nova Zelândia | New Zealand
Yacine Sebti - Jump! - Bélgica e Marrocos | Belgium and Morocco
PERFORMANCE
27/07
Minusbaby (Richard Alexander Caraballo) - Subversive Motives in Chip Music, or The 8bitpeoples' Party - Estados Unidos | United States
Celia Eid, Sébastien Béranger & Amilcar Zani – Dislocations - Brasil | Brazil
28/07
Jaime E Oliver LR - Silent Percussion Project - Peru | Peru
Panetone - Short lived like a butterfly - Brasil | Brazil
29/07
HEARTCHAMBERORCHESTRA - TERMINALBEACH: Erich Berger [Áustria e Finlândia | Austria and Finland] & Peter Votava [Áustria e Alemanha | Austria and Germany]
30/07
MooM: Dino Vicente & Bill Meirelles - Câmara Secreta - Brasil | Brazil
Ricardo Carioba - dáblio (w) - Brasil | Brazil
DOCUMENTA
27/07
Gustavo Godinho & Vladimir Cunha - Brega S/A- Brasil | Brazil
Claudio Mojope - Talk o Meu Coração ZunZunZunTV - Brasil | Brazil
28/07
Andreas Johnsen & Rasmus Poulsen - Man Ooman (Man Woman) - Dinamarca | Denmark
Fenton Bayle & Randy Barbato - Party Monster: The Shockumentary - Estados Unidos | United States
29/07
João Wainer & Roberto T. Oliveira – PIXO - Brasil | Brazil
Otávio Donasci - 30 Anos de Vídeocriaturas - Brasil | Brazil
30/07
Andreas Johnsen - Good Copy Bad Copy - Dinamarca | Denmark
Robert Baca & Joshua Rizzo - Welcome to Macintosh - Estados Unidos | United States
Mecha style 3d graffiti inspired by different anime styles. View more graffiti designs here graffititechnica.com/
Senior Airman Dustin Harris, left, and 1st Lt. John Day, center, discuss radio frequencies with a Soldier assigned to the 82nd Airborne Division during an exercise in frequency hopping at Fort Bragg, N.C. Frequency hopping is changing regular frequencies during transmission, a radio operation technique that ensures secrecy and protects against communication channel jamming. Day and Harris are tactical air control party members with the 14th Air Support Operations Squadron. (U.S. Air Force photo by Airman 1st Class Alexander W. Riedel)
GP500.Org Part # 23000 Yamaha CBR 900 motorcycle windshields
GP500 motorcycle windshields
The history of Yamaha Motorcycles
"I want to carry out trial manufacture of motorcycle engines." It was from these words spoken by Genichi Kawakami (Yamaha Motor's first president) in 1953, that today's Yamaha Motor Company was born.
"If you're going to do something, be the best."
Genichi Kawakami
Genichi Kawakami was the first son of Kaichi Kawakami, the third-generation president of Nippon Gakki (musical instruments and electronics; presently Yamaha Corporation). Genichi studied and graduated from Takachiho Higher Commercial School in March of 1934. In July of 1937, he was the second Kawakami to join the Nippon Gakki Company.
He quickly rose to positions of manager of the company's Tenryu Factory Company (musical instruments) and then Senior General Manager, before assuming the position of fourth-generation President in 1950 at the young age of 38.
In 1953, Genichi was looking for a way to make use of idle machining equipment that had previously been used to make aircraft propellers. Looking back on the founding of Yamaha Motor Company, Genichi had this to say. "While the company was performing well and had some financial leeway, I felt the need to look for our next area of business. So, I did some research." He explored producing many products, including sewing machines, auto parts, scooters, three-wheeled utility vehicles, and…motorcycles. Market and competitive factors led him to focus on the motorcycle market. Genichi actually visited the United States many times during this period.
When asked about this decision, he said, "I had my research division chief and other managers visit leading motorcycle factories around the country. They came back and told me there was still plenty of opportunity, even if we were entering the market late. I didn't want to be completely unprepared in this unfamiliar business so we toured to German factories before setting out to build our first 125cc bike. I joined in this tour around Europe during which my chief engineers learned how to build motorbikes. We did as much research as possible to insure that we could build a bike as good as any out there. Once we had that confidence, we started going."
The first Yamaha motorcycle... the YA-1.
"If you are going to make it, make it the very best there is." With these words as their motto, the development team poured all their energies into building the first prototype, and ten months later in August of 1954 the first model was complete. It was the Yamaha YA-1. The bike was powered by an air-cooled, 2-stroke, single cylinder 125cc engine. Once finished, it was put through an unprecedented 10,000 km endurance test to ensure that its quality was top-class. This was destined to be the first crystallization of what has now become a long tradition of Yamaha creativity and an inexhaustible spirit of challenge.
Then, in January of 1955 the Hamakita Factory of Nippon Gakki was built and production began on the YA-1. With confidence in the new direction that Genichi was taking, Yamaha Motor Co., Ltd. was founded on July 1, 1955. Staffed by 274 enthusiastic employees, the new motorcycle manufacturer built about 200 units per month.
That same year, Yamaha entered its new YA-1 in the two biggest race events in Japan. They were the 3rd Mt. Fuji Ascent Race and the 1st Asama Highlands Race. In these debut races Yamaha won the 125cc class. And, the following year the YA-1 won again in both the Light and Ultra-light classes of the Asama Highlands Race.
By 1956, a second model was ready for production. This was the YC1, a 175cc single cylinder two-stroke. In 1957 Yamaha began production of its first 250cc, two-stroke twin, the YD1.
The first Yamaha to compete in America (1957).
Based on Genichi's firm belief that a product isn't a product until it can hold it's own around the world, in 1958 Yamaha became the first Japanese maker to venture into the international race arena. The result was an impressive 6th place in the Catalina Grand Prix race in the USA. News of this achievement won immediate recognition for the high level of Yamaha technology not only in Japan but among American race fans, as well. This was only the start, however.
Yamaha took quick action using the momentum gained in the USA and began marketing their motorcycles through an independent distributor in California. In 1958, Cooper Motors began selling the YD-1 250 and the MF-1 (50cc, two-stroke, single cylinder, step through street bike). Then in 1960, Yamaha International Corporation began selling motorcycles in the USA through dealers.
With the overseas experiences under his belt, in 1960, Genichi then turned his attention to the Marine industry and the production of the first Yamaha boats and outboard motors. This was the beginning of an aggressive expansion into new fields utilizing the new engines and FRP (fiberglass reinforced plastic) technologies. The first watercraft model was the CAT-21, followed by the RUN-13 and the P-7 123cc outboard motor.
In 1963, Yamaha demonstrated its focus on cutting-edge, technological innovations by developing the Autolube System. This landmark solution was a separate oil injection system for two-stroke models, eliminating the inconvenience of pre-mixing fuel and oil.
Yamaha was building a strong reputation as a superior manufacturer which was reflected in its first project carried out in the new Iwata, Japan Plant, built in 1966. (The YMC headquarters was moved to Iwata in 1972.) Toyota and Yamaha teamed up to produce the highly regarded Toyota 2000 GT sports car. This very limited edition vehicle, still admired for its performance and craftsmanship, created a sensation among enthusiast in Japan and abroad.
Genichi said, "I believe that the most important thing when building a product is to always keep in mind the standpoint of the people who will use it." An example of the commitment to "walking in the customers' shoes" was the move in 1966 by Yamaha to continue its expansion. Overseas motorcycle manufacturing was established in Thailand and Mexico. In 1968, the globalization continued with Brazil and the Netherlands. With manufacturing bases, distributors and R&D operations in a market, Yamaha could be involved in grassroots efforts to build products that truly met the needs of each market by respecting and valuing the distinct national sensibilities and customs of each country. Yamaha continues that tradition, today.
By the late 1960s, Yamaha had quality products that had proven themselves in the global marketplace based on superior performance and innovation. Distribution and product diversity were on the right track. But Genichi knew that beyond quality, success would demand more. He had this view on the power of original ideas. "In the future, a company's future will hinge on ideas over and above quality. Products that have no character, nothing unique about them, will not sell no matter how well made or affordable…and that would spell doom for any company."
He also knew that forward vision, walking hand in hand with original ideas, would create an opportunity for the company and its customers that could mean years of happiness and memorable experiences. Genichi said, "In the business world today, so many people are obsessed with figures. They become fixated on the numbers of the minute and without them are too afraid to do any real work. But in fact, every situation is in flux from moment to moment, developing with a natural flow. Unless one reads that flow, it is impossible to start out in a new field of business."
A real-world illustration of this belief is the Yamaha DT-1. The world's first true off-road motorcycle debuted in 1968 to create an entirely new genre we know today as trail bikes. The DT-1 made a huge impact on motorcycling in the USA because it was truly dirt worthy. Yamaha definitely "read the flow" when it produced
"Make every challenge an opportunity."
Genichi Kawakami
the 250cc, single cylinder, 2-stroke, Enduro that put Yamaha On/Off-Road motorcycles on the map in the USA. The DT-1 exemplified the power of original ideas, forward vision, and quick action coupled with keeping in mind the customers' desires.
In years to come Yamaha continued to grow (and continues to this day). Diversity increased with the addition of products including snowmobiles, race kart engines, generators, scooters, ATVs, personal watercraft and more.
Genichi Kawakami set the stage for Yamaha Motor Company's success with his vision and philosophies. Total honesty towards the customer and making products that hold their own enables the company that serves people in thirty-three countries, to provide an improved lifestyle through exceptional quality, high performance products.
Yamaha Motor Corporation, USA Cypress, California
Genichi Kawakami's history with Yamaha was long and rich. He saw the new corporate headquarters in Cypress, California and the 25th Anniversary of Yamaha become a reality in 1980. He also watched bike #20 million roll off the assembly line in 1982. Genichi passed away on May 25, 2002 yet his vision lives on through the people and products of Yamaha, throughout the world.
History Timeline of Yamaha (USA)
Year Yamaha Motor Origin
1955
The first Yamaha motorized product was the YA-1 Motorcycle (125cc, 2-stroke, single cylinder, streetbike). It was produced and sold in Japan.
Year USA History
1958 The first Yamaha Motorcycles sold in the USA were by Cooper Motors, an independent distributor. The models were the YD1 (250cc, 2-stroke, twin cylinder, streetbike) and MF-1 (50cc, 2-stroke, single cylinder, streetbike, step-through).
1960 Yamaha International Corporation began selling motorcycles in the USA.
1968
The DT-1 Enduro was introduced. The world's first dual purpose motorcycle which had on & off-road capability. Its impact on Motorcycling in the USA was enormous.
Yamaha's first Snowmobile, the SL350 (2-stroke, twin cylinder) was introduced. This was the first Snowmobile with slide valve carburetors.
1970
Yamaha’s first 4-stroke motorcycle model, the XS-1 (650cc vertical twin) was introduced.
1971
The SR433 high performance Snowmobile was introduced.
1973 Yamaha continued expansion into new markets by introducing Generators (ET1200).
1975
Yamaha pioneered the very first single-shock, production motocross bikes. This was the beginning of the YZ Monocross machines that changed motocross forever.
1976 The legendary SRX440 snowmobile hits the market and quickly catapults Yamaha to the forefront of the snowmobile racing scene.
1977
Yamaha Motor Corporation, USA, was founded in order to better appeal to the American market and establish a separate identity (from music & electronics) for Yamaha motorized products.
1978
The XS1100 motorcycle (four cylinder, shaft drive) was introduced.
XS650 Special was introduced. This was the first production Cruiser built by a Japanese manufacturer.
Golf Cars were introduced in the USA with the G1 gas model.
1979
YICS (Yamaha Induction Control System), a fuel-saving engine system, was developed for 4-stroke engines.
1980
The new Yamaha Motor Corporation, USA, corporate office was opened in Cypress, California.
The first 3-wheel ATV was sold in USA… the Tri-Moto (YT125).
The G1-E electric powered Golf Car model was introduced.
1981
The first air-cooled, V-twin cruiser, the Virago 750, was introduced.
1984
The first production 5-valve per cylinder engine was introduced on the FZ750 motorcycle.
Yamaha’s first 4-wheel ATV, the YFM200, was introduced in the USA.
The Phazer snowmobile was introduced. Known for its light weight and agile handling.
Yamaha begins marketing Outboard Motors in the USA.
1985
The V-Max 1200 musclebike hits the streets.
1986
Yamaha Motor Manufacturing Corporation of America was founded in Newnan, Georgia.
1987
A new exhaust system for 4-stroke engines, “EXUP,” was developed to provide higher horsepower output throughout an engine's powerband.
Yamaha introduces personal watercraft...the sit-down WaveRunner and the stand-up WaveJammer.
Yamaha Motor Manufacturing Company begins Golf Car and Water Vehicle production for USA and overseas markets.
1992
The Vmax-4 Snowmobile (2-stroke, four cylinder) was introduced.
1994
Yamaha expands its product offerings by acquiring the Cobia boat company.
1995
The Century and Skeeter boat companies are acquired by Yamaha.
1996
Yamaha introduces its first Star model with the 1300cc, V4 Royal Star.
Tennessee Watercraft produces Sport Boats and later, the SUV WaveRunner.
1997
Yamaha acquires the G3 boat company.
At the Newnan, Georgia, manufacturing facility, the first ATV (the BearTracker) rolls off the assembly line.
Yamaha opens southeastern offices in Kennesaw, Georgia.
1998
The YZ400F four-stroke motocross bike was introduced. This was the first mass produced 4-stroke motocrosser.
The YZF-R1 sport bike was introduced. It set the standard for open class sport bikes for several years.
The Grizzly 600 4x4 ATV with Ultramatic transmission was introduced.
The EF2800i generator with Pulse Width Modulation (PWM) was introduced. PMW allows use with equipment that requires stable frequency and voltage.
2000
The Buckmaster® Edition Big Bear 400 4x4 was introduced. This was the first ATV with camouflage bodywork.
2002
The F225 Outboard was introduced. It was the largest 4-stroke Outboard at the time.
The FX140 WaveRunner (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke personal watercraft.
2003
The RX-1 Snowmbile (1000cc, 4-stroke, four cylinder) was introduced. The world's first high performance 4-stroke Snowmobile.
2004 Rhino Side x Side model introduced. Combined performance, terrainability, utility capabilities, and take-along-a-friend convenience to lead the way in a new category of off-road recreation.
FBI Stolen motorcycles
gp500.org/FBI_stolen_motorcycles.html
Motorcycles VIN Decoder
Star Trek: The Motion Picture (Paramount, 1979).
putlocker.bz/watch-star-trek-the-motion-picture-online-fr... Full Feature
Starring William Shatner, Leonard Nimoy, DeForest Kelley, James Doohan, George Takei, Majel Barrett, Walter Koenig, Nichelle Nichols, Persis Khambatta, Stephen Collins, Grace Lee Whitney, Mark Lenard. Directed by Robert Wise.
In Klingon space, three Klingon battle cruisers encounter a huge cloud-like anomaly. On the bridge of one of the ships, the captain (Mark Lenard) orders his crew to fire torpedoes at it, but they have no effect. The ships take evasive action.
Meanwhile, in Federation space, a monitoring station, Epsilon 9, picks up a distress signal from one of the Klingon ships. As the three ships are attempting to escape the cloud, energy beams shoot out and engulf each ship one by one, and they vanish. On Epsilon 9, the crew tracks the course of the cloud and discovers that it is headed for Earth.
On Vulcan, Spock (Leonard Nimoy) has been undergoing the kohlinahr ritual, in which he has been learning how to purge all of his emotions, and is nearly finished with his training. A female Vulcan Master (Edna Glover), surrounded by two men, is about to give him an ornate necklace as a symbol of pure logic, when Spock holds out his hand to stop her. Confused, she mind-melds with him and senses a consciousness calling to him from space that is affecting his human side. She drops the necklace. "You have not yet achieved kohlinahr. You must look elsewhere for your answer," she says as they leave Spock. "You will not find it here."
In San Francisco, Admiral James T. Kirk (William Shatner) arrives at Starfleet Headquarters in a shuttlecraft. He sees Commander Sonak (Jon Rashad Kamal), a Vulcan science officer who is joining the Enterprise crew and recommended for the position by Kirk himself. Kirk is bothered as to why Sonak is not on board yet. Sonak explains that Captain Willard Decker (Stephen Collins), the new captain of the Enterprise, wanted him to complete his science briefing at Headquarters before they left on their mission. The Enterprise has been undergoing a complete "refitting" for the past 18 months and is now under final preparations to leave, which would take at least 20 hours, but Kirk informs him that they only have 12. He tells Sonak to report to him on the Enterprise in one hour; he has a short meeting with Admiral Nogura and is intent on being on the ship.
Kirk transports to an office complex orbiting Earth and meets Montgomery Scott (James Doohan), the Enterprise's chief engineer. Scotty expresses his concern about the tight departure time. The cloud is less than three days away from Earth, and the Enterprise has been ordered to intercept it because they are the only ship in range. Scotty says that the refit can't be finished in 12 hours, and tries to convince him that the ship needs more work done as well as a shakedown cruise. Kirk insists that they are leaving, ready or not. They board a travel pod and begin the journey over to the drydock in orbit that houses the Enterprise.
Scotty tells Kirk that the crew hasn't had enough transition time with all the new equipment and that the engines haven't even been tested at warp power, not to mention that they have an untried captain. Kirk tells Scotty that two and a half years as Chief of Starfleet Operations may have made him a little stale, but that he wouldn't exactly consider himself untried. Kirk then tells a surprised Scotty that Starfleet gave him back his command of the Enterprise. Scotty doubts it, saying that he doesn't think it was that easy with Admiral Nogura, who gave Kirk his orders. They arrive at the Enterprise, and Scotty indulges Kirk with a brief tour of the new exterior of the ship.
Upon docking with the ship, Scotty is summoned to Engineering. Kirk goes up to the bridge, and is informed by Lt. Uhura (Nichelle Nichols) that Starfleet has just transferred command from Captain Decker over to him. Kirk finds Decker in engineering, whom is visibly upset when Kirk breaks the news that he is assuming command, but recognizes it is because Kirk has more experience. Decker will remain on the ship as 2nd officer. As Decker storms off, an alarm sounds. Someone is trying to beam over to the ship, but the transporter is malfunctioning. Kirk and Scotty race to the transporter room. Transporter operator Janice Rand (Grace Lee Whitney) is frantically trying to tell Starfleet to abort the transport, but it is too late. Commander Sonak and an unknown female officer are beaming in, but their bodies aren't re-forming properly in the beam. The female officer screams, and then their bodies disappear. Starfleet signals to them that they have died. Kirk tells Starfleet to express his sympathies to their families.
In the corridor, Kirk sees Decker and tells him they will have to replace Commander Sonak and wants another Vulcan. Decker tells him that no one is available that is familiar with the ship's new design. Kirk tells Decker he will have to double his duties as science officer as well.
In the recreation room, as Kirk briefs the assembled crew on the mission, they receive a transmission from Epsilon 9. Commander Branch (David Gautreaux) tells them they have analyzed the mysterious cloud. It generates an immense amount of energy and measures 2 A.U.s (300 million km) in diameter. There is also a vessel of some kind in the center. They've tried to communicate with it and have performed scans, but the cloud reflects them back. It seems to think of the scans as hostile and attacks them. Like the Klingon ships earlier, Epsilon 9 disappears.
Later on the bridge, Uhura informs Kirk that the transporter is working now. Lt. Ilia, (Persis Khambatta), a bald being from the planet Delta IV, arrives. Decker is happy to see her, as they developed a romantic relationship when he was assigned to her planet several years earlier. Ilia is curious about Decker's reduction in rank and Kirk interrupts and tells her about Decker being the executive and science officer. Decker tells her, with slight sarcasm, that Kirk has the utmost confidence in him. Ilia tells Kirk that her oath of celibacy is on record and asks permission to assume her duties. Uhura tells Kirk that one of the last few crew members to arrive is refusing to beam up. Kirk goes to the transporter room to ensure that "he" beams up.
Kirk tells Starfleet to beam the officer aboard. Dr. Leonard "Bones" McCoy (DeForest Kelley) materializes on the platform. McCoy is angry that his Starfleet commission was reactivated and that it was Kirk's idea for him to be brought along on the mission. His attitude changes, however, when Kirk says he desperately needs him. McCoy leaves to check out the new sickbay.
The crew finishes its repairs and the Enterprise leaves drydock and into the solar system. Dr. McCoy comes up to the bridge and complains that the new sickbay is nothing but a computer center. Kirk is anxious to intercept the cloud intruder, and orders Hikaru Sulu (George Takei) to go to warp speed. Suddenly, the ship enters a wormhole, which was created by an engine imbalance, and is about to collide with an asteroid that has been pulled inside. Kirk orders the phasers to be fired on it, but Decker tells Pavel Chekov (Walter Koenig) to fire photon torpedoes instead. The asteroid and the wormhole are destroyed. Annoyed, Kirk wants to meet with Decker in his quarters. Dr. McCoy decides to go along.
Kirk demands an explanation from Decker. Decker pointed out that the redesigned Enterprise channeled the phasers through the main engines and because they were imbalanced, the phasers were cut off. Kirk acknowledged that he had saved the ship; however, he accuses Decker of competing with him. Decker tells Kirk that, because of his unfamiliarity with the ship's new design, the mission is in jeopardy. Decker tells Kirk that he will gladly help Kirk understand the new design. Kirk then dismisses him from the room. In the corridor, Decker runs into Ilia. Ilia asked if the confrontation was difficult, and he tells her that it was about as difficult as seeing her again, and apologizes. She asked if he was sorry for leaving Delta IV, or for not saying goodbye. He said that if he had seen her again, would she be able to say goodbye? She says "no," and walked around him and entered her quarters nearby.
Back in Kirk's quarters, McCoy accuses Kirk of being the one who was competing, and the fact that it was Kirk who used the emergency to pressure Starfleet into letting him get command of the Enterprise. McCoy thinks that Kirk is obsessed with keeping his command. On Kirk's console viewscreen, Uhura informs Kirk that a shuttlecraft is approaching and that the occupant wishes to dock. Chekov also pipes in and replies that it appears to be a courier vessel. Kirk tells Chekov to handle the situation.
The shuttle approaches the Enterprise from behind, and the top portion of it detaches and docks at an airlock behind the bridge. Chekov is waiting by the airlock doors and is surprised to see Spock come aboard. Moments later, Spock arrives on the bridge, and everyone is shocked and pleased to see him, yet Spock ignores them. He moves over to the science station and tells Kirk that he is aware of the crisis and knows about the ship's engine design difficulties. He offers to step in as the science officer. McCoy and Dr. Christine Chapel (Majel Barret Roddenberry) come to the bridge to greet Spock, but Spock just stares alarmingly at their emotional outburst. Spock leaves to discuss fuel equations with Scotty in engineering.
With Spock's assistance, the engines are now rebalanced for full warp capacity. The ship successfully goes to warp to intercept the cloud. In the officers lounge, Spock meets with Kirk and McCoy. They discuss Spock's kohlinahr training on Vulcan, and how Spock broke off from his training to join them. Spock describes how he sensed the consciousness of the intruder, from a source more powerful that he has ever encountered, with perfect, logical thought patterns. He believes that it holds the answers he seeks. Uhura tells Kirk over the intercom that they have visual contact with the intruder.
The cloud scans the ship, but Kirk orders no return scans. Spock determines that the scans are coming from the center of the cloud. Uhura tries sending "linguacode" messages, but there is no response. Decker suggests raising the shields for protection, but Kirk determines that that might be considered hostile to the cloud. Spock analyzes the clouds composition, and discovers it has a 12-power energy field, the equivalent of power generated by thousands of starships.
Sitting at the science station, Spock awakens from a brief trance. He reveals to Kirk that the alien was communicating with him. The alien is puzzled; it contacted the Enterprise--why has the Enterprise not replied? A red alert sounds, and an energy beam from within the cloud touches the ship, and begins to overload the ship's systems. Bolts of lightning surround the warp core and nearly injure some engineering officers, and Chekov is also hurt--his hand is burned while sitting at the weapons station on the bridge. The energy beam then disappears. A medical team is summoned to the bridge, and Ilia is able to use her telepathic powers to soothe Chekov's pain.
Spock confirms to Kirk that the alien has been attempting to communicate. It communicates at a frequency of more than one million megahertz, and at such a high rate of speed, the message only lasts a millisecond. Spock programs to computer to send linguacode messages at that frequency. Another energy beam is sent out, but Spock transmits a message just in time, and the beam disappears. The ship continues on course through the cloud. They pass through many expansive and colorful cloud layers and upon clearing these, a giant vessel is revealed. It is roughly cylindrical in shape, with large spikes jutting out from the surface at equidistant angles between each other, forming a hexagon-like shape.
Kirk tells Uhura to transmit an image of the alien to Starfleet, but she explains that any transmission sent out of the cloud is being reflected back to them. Kirk orders Sulu to fly above and along the top of the vessel. The Enterprise is so small compared to the size of the alien vessel that it appears only as a little white dot next to it. The ship travels past many oddly-shaped structures, including a sunken area where the energy beams originate.
An alarm sounds, and yet another energy bolt approaches the ship. It appears on the bridge as a column of bright light that emits a very loud noise. The crew struggles to shield their eyes from its brilliant glow. Chekov asks Spock if it is one of the alien's crew, and Spock replies that it is a probe sent from the vessel. The probe slowly moves around the room and stops in front of the science station. Bolts of lightning shoot out from it and surround the console--it is trying to access the ship's computer. Spock manages to smash the controls to prevent further access, and the probe gives him an electric shock that sends him rolling onto the floor. The probe approaches the helm/navigation console and it scans Lt. Ilia. Suddenly, she vanishes, along with the probe.
Ahead of the ship looms another giant section of the vessel. A tractor beam is drawing the Enterprise toward an opening aperture. Decker calls for Chief DiFalco (Marcy Lafferty) to come up to the bridge as Ilia's replacement. The ship travels deep into the next chamber. Decker wonders why they were brought inside--they could have been easily destroyed outside. Spock deduces that the alien is curious about them. Uhura's monitor shows that the aperture is closing; they are trapped. The ship is released from the tractor beam and suddenly, an intruder alert goes off. Someone has come aboard the ship and is in the crew quarters section.
Kirk and Spock arrive inside a crewman's quarters to discover that the intruder is inside the sonic shower. It is revealed to be Ilia, although it isn't really her--there is a small red device attached to her neck. In a mechanized voice, she replies "You are the Kirk unit--you will listen to me." She explains that she has been programmed by an entity called "V'Ger" to observe and record the normal functions of the carbon-based units (humans) "infesting" the Enterprise. Kirk opens the shower door and "Ilia" steps out, wearing a small white garment that just materialized around her. Dr. McCoy and a security officer enter the room, and Kirk tells McCoy to scan her with a tricorder.
Kirk asks her who V'Ger is. She replies "V'Ger is that which programmed me." McCoy tells Kirk that Ilia is a mechanism and Spock confirms she is a probe that assumed Ilia's physical form. Kirk asks where the real Ilia is, and the probe states that "that unit" no longer functions. Kirk also asks why V'Ger is traveling to Earth, and the probe answers that it wishes to find the Creator, join with him, and become one with it. Spock suggests that McCoy perform a complete examination of the probe.
In sickbay, the Ilia probe lays on a diagnostic table, its sensors slowly taking readings. All normal body functions, down to the microscopic level, are exactly duplicated by the probe. Decker arrives and is stunned to see her there. She looks up at him and addresses him as "Decker", rather than "Decker unit," which intrigues Spock. Spock talks with Kirk and Decker in an adjoining room, and Spock locks the door. Spock theorizes that the real Ilia's memories and feelings have been duplicated by the probe as well as her body. Decker is angry that the probe killed Ilia, but Kirk convinces him that their only contact with the vessel is through the probe, and they need to use that advantage to find out more about the alien. Suddenly, the probe bursts through the door, and demands that Kirk assist her with her observations. He tells her that Decker will do it with more efficiency.
Decker and Ilia are seen walking around in the recreation room. He shows her pictures of previous ships that were named Enterprise. Decker has been trying to see if Ilia's memories or emotions can resurface, but to no avail. Kirk and McCoy are observing them covertly on a monitor from his quarters. Decker shows her a game that the crew enjoys playing. She is not interested and states that recreation and enjoyment has no meaning to her programming. At another game, which Ilia enjoyed and nearly always won, they both press one of their hands down onto a table to play it. The table lights up, indicating she won the game, and she gazes into Deckers eyes. This moment of emotion ends suddenly, and she returns to normal. "This device serves no purpose."
"Why does the Enterprise require the presence of carbon units?" she asks. Decker tells her the ship couldn't function without them. She tells him that more information is needed before the crew can be patterned for data storage. Horrified, he asks her what this means. "When my examination is complete, all carbon units will be reduced to data patterns." He tells her that within her are the memory patterns of a certain carbon unit. He convinces her to let him help her revive those patterns so that she can understand their functions better. She allows him to proceed.
Spock slowly enters an airlock room. He sees an officer standing at a console, his back to Spock. Spock quietly approaches him, and gives him the Vulcan nerve pinch to render him unconscious.
Decker, the probe, Dr. McCoy, and Dr. Chapel are in Ilia's quarters. Dr. Chapel gives the probe a decorative headband that Ilia used to wear. Chapel puts it over "Ilia's" head and turns her toward a mirror. Decker asks her if she remembers wearing it on Delta IV. The probe shows another moment of emotion, saying Dr. Chapel's name, and putting her hand on Decker's face, calling him Will. Behind them, McCoy reminds Decker that she is a mechanism. Decker asks "Ilia" to help them make contact with V'Ger. She says that she can't, and Decker asks her who the Creator is. She says V'Ger does not know. The probe becomes emotionless again and removes the headband.
Spock is now outside the ship in a space suit with an attached thruster pack. He begins recording a log entry for Kirk detailing his attempt to contact the alien. He activates a panel on the suit and calculates thruster ignition and acceleration to coincide with the opening of an aperture ahead of him. He hopes to get a better view of the spacecraft interior.
Kirk comes up to the bridge and Uhura tells him that Starfleet signals are growing stronger, indicating they are very close to Earth. Starfleet is monitoring the intruder and notifies Uhura that it is slowing down in its approach. Sulu confirms this and says that lunar beacons show the intruder is entering into orbit. Chekov tells Kirk that Airlock 4 has been opened and a thruster suit is missing. Kirk figures out that Spock has done it, and orders Chekov to get Spock back on the ship. He changes his mind, and instead tells him to determine his position.
Spock touches a button on his thruster panel and his thruster engine ignites. He is propelled forward rapidly, and enters the next chamber of the vessel just before the aperture closes behind him. The thruster engine shuts down, and the momentum carries Spock ahead further. He disconnects the thruster pack from his suit and it falls away from him.
Continuing his log entry, Spock sees an image of what he believes to be V'Gers home planet. He passes through a tunnel filled with crackling plasma energy, possibly a power source for a gigantic imaging system. Next, he sees several more images of planets, moons, stars, and galaxies stored and recorded. Spock theorizes that this may be a visual representation of V'Gers entire journey. "But who or what are we dealing with?" he ponders.
He sees the Epsilon 9 station, and notes to Kirk that he is convinced that all of what he is seeing is V'Ger; and that they are inside a living machine. Then he sees a giant image of Lt. Ilia with the sensor on her neck. Spock decides it must have some special meaning, so he attempts to mind-meld with it. He is quickly overwhelmed by the multitude of images flooding his mind, and is thrown backward.
Kirk is now in a space suit and has exited the ship. The aperture in front of the Enterprise opens, and Spock's unconscious body floats toward him. Later, Dr. Chapel and Dr. McCoy are examining Spock in sickbay. Dr. McCoy performs scans and determines that Spock endured massive neurological trauma from the mind-meld. Spock tells Kirk he should have known and Kirk asks if he was right about V'Ger. Spock calls it a conscious, living entity. Kirk explains that V'Ger considers the Enterprise a living machine and it's why "Ilia" refers to the ship as an entity and the crew as an infestation.
Spock describes V'Ger's homeworld as a planet populated by living machines with unbelievable technology. But with all that logic and knowledge, V'Ger is barren, with no mystery or meaning. He momentarily lapses into sleep but Kirk rouses him awake to ask what Spock should have known. Spock grasps Kirk's hand and tells him "This simple feeling is beyond V'Ger's comprehension. No meaning, no hope. And Jim, no answers. It's asking questions. 'Is this all that I am? Is there nothing more?'"
Uhura chimes in and tells Kirk that they are getting a faint signal from Starfleet. The intruder has been on their monitors for a while and the cloud is rapidly dissipating as it approaches. Sulu also comments that the intruder has slowed to sub-warp speed and is three minutes from Earth orbit. Kirk acknowledges and he, McCoy and Spock go up to the bridge.
Starfleet sends the Enterprise a tactical report on the intruders position. Uhura tells Kirk that V'Ger is transmitting a signal. Decker and "Ilia" come up to the bridge, and she says that V'Ger is signaling the Creator. Spock determines that the transmission is a radio signal. Decker tells Kirk that V'Ger expects an answer, but Kirk doesn't know the question. Then "Ilia" says that the Creator has not responded. An energy bolt is released from V'Ger and positions itself above Earth. Chekov reports that all planetary defense systems have just gone inoperative. Several more bolts are released, and they all split apart to form smaller ones and they assume equidistant positions around the planet.
McCoy notices that the bolts are the same ones that hit the ship earlier, and Spock says that these are hundreds of times more powerful, and from those positions, they can destroy all life on Earth. "Why?" Kirk asks "Ilia." She says that the carbon unit infestation will be removed from the Creator's planet as they are interfering with the Creator's ability to respond and accuses the crew of infesting the Enterprise and interfering in the same manner. Kirk tells "Ilia" that carbon units are a natural function of the Creator's planet and they are living things, not infestations. However "Ilia" says they are not true life forms like the Creator. McCoy realizes V'Ger must think its creator is a machine.
Spock compares V'Ger to a child, and suggests they treat it like one. McCoy retorts that this child is about to wipe out every living thing on Earth. To get "Ilia's" attention, Kirk says that the carbon units know why the Creator hasn't responded. The Ilia probe demands that the Creator "disclose the information." Kirk won't do it until V'Ger withdraws all the orbiting devices. In response to this, V'Ger cuts off the ship's communications with Starfleet. She tells him again to disclose the information. He refuses, and a plasma energy attack shakes the ship. McCoy tells Spock that the child is having a "tantrum."
Kirk tells the probe that if V'Ger destroys the Enterprise, then the information it needs will also be destroyed. Ilia says that it is illogical to withhold the required information, and asks him why he won't disclose it. Kirk explains it is because V'Ger is going to destroy all life on Earth. "Ilia" says that they have oppressed the Creator, and Kirk makes it clear he will not disclose anything. V'Ger needs the information, says "Ilia." Kirk says that V'Ger will have to withdraw all the orbiting devices. "Ilia" says that V'Ger will comply, if the carbon units give the information.
Spock tells Kirk that V'Ger must have a central brain complex. Kirk theorizes that the orbiting devices are controlled from there. Kirk tells "Ilia" that the information cant be disclosed to V'Ger's probe, but only to V'Ger itself. "Ilia" stares at the viewscreen, and, in response, the aperture opens and drags the ship forward with a tractor beam into the next chamber. Chekov tells Kirk that the energy bolts will reach their final positions and activate in 27 minutes. Kirk calls to Scotty on the intercom and tells him to stand by to execute Starfleet Order 2005; the self-destruct command. A female crewmember asks Scotty why Kirk ordered self-destruct, and Scotty tells her that Kirk hopes that when they explode, so will the intruder.
The countdown is now down to 18 minutes. DiFalco reports that they have traveled 17 kilometers inside the vessel. Kirk goes over to Spock's station, and sees that Spock has been crying. "Not for us," Kirk realizes. Spock tells him he is crying for V'Ger, and that he weeps for V'Ger as he would for a brother. As he was when he came aboard the Enterprise, so is V'Ger now--empty, incomplete, and searching. Logic and knowledge are not enough. McCoy realizes Spock has found what he needed, but that V'Ger hasn't. Decker wonders what V'Ger would need to fulfill itself.
Spock comments that each one of us, at some point in our lives asks, "Why am I here?" "What was I meant to be?" V'Ger hopes to touch its Creator and find those answers. DiFalco directs Kirk's attention to the viewscreen. Ahead of them is a structure with a bright light. Sulu reports that forward motion has stopped. Chekov replies that an oxygen/gravity envelope has formed outside of the ship. "Ilia" points to the structure on the screen and identifies it as V'Ger. Uhura has located the source of the radio signal and it is straight ahead. A passageway forms outside the ship as Kirk Spock, McCoy, Decker, and "Ilia" enter a turbolift.
The landing party exits an airlock on the top of the saucer section and walks up the passageway. At the end of the path is a concave structure, and in the center of it is an old NASA probe from three centuries earlier. Kirk tries to rub away the smudges on the nameplate and makes out the letters V G E R. He continues to rub, and discovers that the craft is actually Voyager 6. Kirk recalls the history of the Voyager program--it was designed to collect data and transmit it back to Earth. Decker tells Kirk that Voyager 6 disappeared through a black hole.
Kirk says that it must have emerged on the far side of the galaxy and got caught in the machine planet's gravity. Spock theorizes that the planet's inhabitants found the probe to be one of their own kind--primitive, yet kindred. They discovered the probe's 20th century programming, which was to collect data and return that information to its creator. The machines interpreted that instruction literally, and constructed the entire vessel so that Voyager could fulfill its programming. Kirk continues by saying that on its journey back, it amassed so much knowledge that it gained its own consciousness.
"Ilia" tells Kirk that V'Ger awaits the information. Kirk calls Uhura on his communicator and tells her to find information on the probe in the ship's computer, specifically the NASA code signal, which will allow the probe to transmit its data. Decker realizes that that is what the probe was signaling--it's ready to transmit everything. Kirk then says that there is no one on Earth who recognizes the old-style signal--the Creator does not answer.
Kirk calls out to V'Ger and says that they are the Creator. "Ilia" says that is not logical--carbon units are not true life forms. Kirk says they will prove it by allowing V'Ger to complete its programming. Uhura calls Kirk on his communicator and tells him she has retrieved the code. Kirk tells her to set the Enterprise transmitter to the code frequency and to transmit the signal. Decker reads off the numerical code on his tricorder, and is about to read the final sequence, but Voyager's circuitry burns out, an effort by V'Ger itself to prevent the last part of the code from being transmitted.
"Ilia" says that the Creator must join with V'Ger, and turns toward Decker. McCoy warns Kirk that they only have 10 minutes left. Decker figures out that V'Ger wanted to bring the Creator here and transmit the code in person. Spock tells Kirk that V'Ger's knowledge has reached the limits of the universe and it must evolve. Kirk says that V'Ger needs a human quality in order to evolve. Decker thinks that V'Ger joining with the Creator will accomplish that. He then goes over to the damaged circuitry and fixes the wires so he can manually enter the rest of the code through the ground test computer. Kirk tries to stop him, but "Ilia" tosses him aside. Decker tells Kirk that he wants this as much as Kirk wanted the Enterprise.
Suddenly, a bright light forms around Decker's body. "Ilia" moves over to him, and the light encompasses them both as they merge together. Their bodies disappear, and the light expands and begins to consume the area. Kirk, Spock, and McCoy retreat back to the Enterprise. V'Ger explodes, leaving the Enterprise above Earth, unharmed. On the bridge, Kirk wonders if they just saw the beginning of a new life form, and Spock says yes and that it is possibly the next step in their evolution. McCoy says that its been a while since he "delivered" a baby, and hopes that they got this one off to a good start.
Uhura tells Kirk that Starfleet is requesting the ship's damage and injury reports and vessel status. Kirk reports that there were only two casualties: Lt. Ilia and Captain Decker. He quickly corrects his statement and changes their status to "missing." Vessel status: fully operational. Scotty comes on the bridge and agrees with Kirk that it's time to give the Enterprise a proper shakedown. When Scotty offers to have Spock back on Vulcan in four days, Spock says that's unnecessary, as his task on Vulcan is completed.
Kirk tells Sulu to proceed ahead at warp factor one. When DiFalco asks for a heading, Kirk simply says "Out there, thataway." With that, the Enterprise flies overhead and engages warp drive.
youtu.be/4n2dGwYcp9k?t=8s Star Trek Theme
Back when the East Perth Power Station was built (around 1916) the powers that be asked a renowned electricity expert what frequency the station should generate at. He recommended 50 hertz, so (naturally) they decided to build the station at 40 hertz.
This was fine for a while, but by the 1940s 50 hertz was established as the standard, and East Perth's eccentric 40 hertz was causing big problems on the power grid. The solution was to build a big-ass transformer to kick the frequency up ten hertz and route the entire station's output through it.
Which is what they did - constructing the frequency switcher building to hold it.
Ain't industrial history grand?