From rssfeeds@jmason.org  Thu Oct  3 12:24:22 2002
Return-Path: <rssfeeds@spamassassin.taint.org>
Delivered-To: yyyy@localhost.spamassassin.taint.org
Received: from localhost (jalapeno [127.0.0.1])
	by jmason.org (Postfix) with ESMTP id AAE9616F56
	for <jm@localhost>; Thu,  3 Oct 2002 12:23:24 +0100 (IST)
Received: from jalapeno [127.0.0.1]
	by localhost with IMAP (fetchmail-5.9.0)
	for jm@localhost (single-drop); Thu, 03 Oct 2002 12:23:24 +0100 (IST)
Received: from dogma.slashnull.org (localhost [127.0.0.1]) by
    dogma.slashnull.org (8.11.6/8.11.6) with ESMTP id g93817K19976 for
    <jm@jmason.org>; Thu, 3 Oct 2002 09:01:07 +0100
Message-Id: <200210030801.g93817K19976@dogma.slashnull.org>
To: yyyy@spamassassin.taint.org
From: boingboing <rssfeeds@spamassassin.taint.org>
Subject: Mathematics film-festival in October in Berkeley
Date: Thu, 03 Oct 2002 08:01:06 -0000
Content-Type: text/plain; encoding=utf-8

URL: http://boingboing.net/#85516333
Date: Not supplied

All through October, Berkeley's Mathematical Sciences Research Institute is 
hosting Cinemath, a mathematics film festival: 

    Permutations and Configurations: A Calculated Cinema 

    In this avant-garde subset of Cinemath, we explore films that have been 
    constructed using mathematical concepts both simple and complex- geometric 
    permutations, musical frameworks, even topography are among the strategies 
    that have been employed to compose and sequence film frames. Filmmakers 
    such as Oskar Fischinger and Walther Ruttmann created some of the earliest 
    avant-garde films by multiplying, dividing, and otherwise transforming 
    abstract images- including spirals, rectangles, and circles to produce 
    dynamic rhythms and harmonies. Today such visual music and motion graphics 
    are the currency of digital graphics. Anthony McCall's film performances 
    such as Line Describing a Cone create 3-D geometric shapes into which the 
    viewer can literally step. We also explore films by pioneers of 
    machine-generated and computer-produced animation (Norman McLaren, James 
    and John Whitney, Stan Vanderbeek) as well as works by contemporary 
    animators who use the computer to either generate or pattern images (Larry 
    Cuba, Paul Glabicki, James Otis). Peter Kubelka, Taka Iimura, and Standish 
    Lawder use the frame as the unit with which they create editing patterns, 
    while Kurt Kren and Paul Sharits reckon on arithmetic systems to variously 
    calculate compositional or editing patterns. Bette Gordon, Hollis Frampton, 
    and Bruce Elder figure in algorithms, group theory, and set theory to 
    graphically enliven the frame or to structure their films. While no 
    mathematical knowledge is required to enjoy these films, we count on you to 
    try to calculate the mathematical systems employed!  

Link[1] Discuss[2] (_Thanks, Jef[3]!_)

[1] http://www.msri.org/20thanniversary/cinemath.html
[2] http://www.quicktopic.com/boing/H/Adiw2xL5kw8ug
[3] http://www.acme.com


