And on a separate subject, Jurassic World is a fun flick. Check it out.
While this isn’t the Stones or Nelsonville, Sharon and co. put on a great show Friday night.
After finally graduating I was able to finish Fight Club, which I’ve been trying to read for two semesters. Here are just a few quotes I enjoyed.
This is how it is with insomnia. Everything is so far away, a copy of a copy of a copy. The insomnia distance of everything, you can’t touch anything and nothing can touch you.
The insomnia distance of everything, a copy of a copy of a copy. You can’t touch anything and nothing can touch you.
Raymond K. K. Hessel, your dinner is going to taste better than any meal you’ve ever eaten, and tomorrow will be the most beautiful day of your entire life.
In the projection booth, Tyler did changeovers if the theater was old enough. With changeovers, you have two projectors in the booth, and one projector is running.
I know this because Tyler knows this.
The second projector is set up with the next reel of film. Most movies are six or seven reels of film played in a certain order. Newer theaters, tey splice all the reels together into one five-foot reel. This way, you don’t have to run two projectors and do changeovers, switch back and forth, reel one, switch, reel two on the other projector, switch, reel three on the first projector.
Old theater, new theater, to ship a movie to the next theater, Tyler has to break the movie back down to the original six or seven reels. The small reels pack into a pair of hexagonal steel suitcases. Each suitcase has a handle on top. Pick up one, and you’ll dislocate a shoulder. They weigh that much.
Tyler’s a banquet waiter, waiting tables at a hotel, downtown, and Tyler’s a projectionist with the projector operator’s union. I don’t know how long Tyler had been working on all those nights I couldn’t sleep.
The old theaters that run a movie with two projectors, a projectionist has to stand right there to change projectors at the eexact second so the audience never sees the break when one reel starts and one reel ran out. You have to look for the white dots in the top, right-hand corner of the screen. This is the warning. Watch the movie, and you’ll see two dots at the end of a reel.
“Cigarette burns,” they’re called in the business.
The first white dot, this is the two-minute warning. You get the second projector started so it will be running up to speed.
The second white dot is the five-second warning. Excitement. You’re standing between the two projectors and the booth is sweating hot from the xenon bulbs that if you looked right at them you’re blind. The first dot flashes on the screen. The sound in a movie comes from a big speaker behind the screen. The projectionist booth is soundproof because inside the booth is the racket of sprockets snapping film past he lens at six feet a second, ten frames a foot, sixty frames a second (sic) snapping through, clattering Gatling-fun fire. The two projectors running, you stand between and hold the shutter lever on each. On really old projectors, you have an alarm on the hub of the feed reel.
Of course, we all know that projectors do not run at 60 frames per second, but I will allow Palahniuk a pass. The rest is pretty spot on.
My senior project is no longer “evolving” as I had my show on May 9th at the Urban Arts Center. Thanks to everyone who could make it! To those who couldn’t, here’s a closer look at my pieces.
Error in the System
Born somewhere in between Generation X and the Millennials, my generation is the last to experience a purely analog world – a world without terminals on the desktop and a world in which research required a visit to the library. We are in contrast the first generation to have home computers and personal cell phones. As technology transformed, we grew up.
Computers today are able to run endless simulations, seemingly infinite ones and zeros. The Simulation Hypothesis asserts that we are, in fact, designed as part of a computer simulation. With computing speed doubling exponentially every four years, The Simulation Hypothesis is becoming increasingly plausible.
Taking into consideration the state the world is today, perhaps humanity only has so long before our digital coders decide we’re a hopeless disaster and that our design is so flawed that the Simulation itself begins to break down. Data rot, the gradual degradation of digital storage media, is unavoidable.
How will humanity deal with this inevitable digital deterioration?
In response to our decay I create photographs inspired by dreams and data-bend, or break, the photographic source code by merging it with code from literature, song lyrics, notes, or the musical code itself. In this way I am able to see through the digital fog to return to my own reality. Simulation or no.
Image taken from the trailer: https://youtu.be/ffuZ8elIPSs