“I entered the forest here and a hare appeared, then did many more everywhere in a prolific dance, prancing into a murky world of green and blue, a haze of dark colors ablaze dripping morning dew hidden beneath the roof of tree’s shelter as insects flew and fungus grew. I waited in the pond, ankle deep, address of blue silk pattern in hand to avoid getting it wet, an arrow on it pointing the way which kept changing as I moved. My thoughts were adrift absorbing the visual play seeing images all around me reflected off the pond’s surface. After a conversation with a flying squirrel who had spoken to me about the rocky, bumpy hole with the hare, I jumped into this whole, over there, traveling to an another place to attend a tea party with all sorts of strange talking creatures, going through keyholes and eating mushrooms along the way.”

This excerpt, hand-written in Yiddish, was found in the diaries of German Baroness Gertrude Von Ludwig Dodgson, reportedly the second cousin once removed of Charles Lutwig Dodgson, known by the pseudonym, Lewis Carroll, noted British author and master of Literary nonsense. His most popular works include “Jabberwocky”, “The Hunting Of The Snark” and the complete works of “Alice in Wonderland”.

Disney studios brought it to the screen as a beloved 1951 epic animated fantasy, an interpretive adaptation of colors and epic symbols about the girl with golden hair seeing a talking hare, holding watch, nervously observing the direction as thyme grew late for a clue that would help him find his lost hole, running, claiming to be late for a very important date, a gathering with some questionable characters hosted by a loonytoon with attitude and a hat. Now, Tim Burton has created a 3D version starring Johnny Depp.

Dodgson never met his cousin who had been committed to the Bavarian Sanitarium For Anthropomorphic Research when she was observed talking to birds, squirrels and vampire bats migrating from Romania. After her death caused by an attack from a hive of bumble bee’s and spawning salmon, her vast estate including a crypt of secret documents and diaries from some of the most illustrious royal families of Europe, were left to her closest living relative then known by the name Lewis Carroll.

These quotes are believed to be the basis of his most popular books, Alice’s Adventures In Wonderland and its sequel, Through The Looking Glass And What Alice Found There. Many parallels can be found between his novel nonsense and the stories in her most recent diaries.

Since imagination is a place where living or inanimate objects can have human qualities, it’s sensible to conclude that animals, imaginary people, and even cartoon characters we know can’t   exist, can also act with human traits in a place where everything makes scents despite having no logical sense.

“Even a man who is pure in heart

And says his prayers by night

May become a wolf when the wolfbane blooms

And the autumn moon is bright”

Among Europe’s most popular legends are the Strigoi, known as the tortured souls that rise from the dead with the ability to transform themselves into animals, drain energy from their victims and make themselves invisible. Some scholars argue that they can be living beings with supernatural instincts instilled with the power to move objects, control the passage of time and possess special insight to foretell the future.

There are many stories about what lurks in the forests of Europe where the Strigoi dwell as human sized predatory creatures with unusual speed. A ripe subject for literature, cinema and television. They tell the common tale of chronic dissatisfaction with life, cursed while trapped within a fear of change. The only other way to attain immortality is by seeing though the illusion of life’s addiction and ascend, aware only of movement since direction is subjective. But even to do that, one still has to suffer as does the tortured souls most feared in myths in an ironic twist of fate.

Although he never refers to the undead, Woody Allen has included some witty dialogue about chronic dissatisfaction in his 2008 film, Vicky Cristina Barcelona, “Life is short, life is dull and full of pain and this is a chance for something special.” Some of the directors words also seem to explain why love stories between humans and the Strigoi are so compelling, “Only unfulfilled love can be romantic,”  as images of Edward and Bella, Angel and Buffy are evoked.

Most of the claims about the Strigoi have been dismissed as hallucinations, fables usually attributed to a curse using breadcrumbs to lure an audience as a common ploy of witches who live in candy houses somewhere in the woods of the Carpathian mountains where beasts prey upon lost souls who only know what they don’t want, effectively becoming yet another victim of chronic dissatisfaction.

Sixty years earlier the film Abbott And Costello Meet Frankenstein (1948) took a comical look at the undead. A respected horror film that is considered by the American Film Institute (AFI) among the top 100 films of American cinema. The plot is set in Florida and surrounds four different kind of Strigoi as Dracula and Frankenstein’s monster are smuggled out of eastern Europe as wax dummies pursued by the man who turns into the werewolf while the invisible man makes a cameo appearance at the end of the film. Even though he cannot be seen a voice is heard, “allow me to introduce myself, I’m the invisible man.”

Although none of them appear in a Woody Allen film, all of them were effected by chronic dissatisfaction and madness.

Around the time of Socrates a lesser known philosopher wrote, “perspective is the ability to visualize two points on any horizontal line with a third point elevated in the distance allowing parallel lines to be drawn intersecting at the ‘vanishing point’ beyond which nothing is seen.”

An example of this occurs when vision is focused on a point along the horizon driving an automobile on a flat desert highway with cactus and sand on either side. Then, its noticed that the road in the distance disappears and becomes a dot. If the path has been traveled before, familiarity with what one expects to find is reinforced with confidence about what still lies hidden as memory saturates the event.

Artists of all sorts such as painters, sculpture’s and architects write using perspective in various ways to stimulate imagination  suggesting, “what lies beyond can be perceived with a little bit of flexibility surrounded by rational thought reflecting that which  is not visible,” recognizing it as a place where the hypothetical becomes tangible.

If the gaze is fixed and the horizon moves, a cause could be myodeopsia, a condition characterized by the appearance of spider’s web thread like spots moving as the field of vision shifts. Floaters as they are known in ophthalmology are small pieces of hardening vitreous structures that break off within the eye and move freely in the fluid causing shadows to be cast on the retina.

Even though they are common and considered more an  annoyance than anything seriously wrong with one’s visual capabilities, an exam by an ophthalmologist once a year is advisable.

Floaters are often a result of aging, a corneal abrasion or an infection. Some think they are  optical illusions  which are perceptual effects that arise from interpretations of an image by the brain rather then an entoptic phenomenon. Others may consider them a figment of science fiction but only those who have them know for sure.

In Hinduism, Avatar is a  Sanskrit word referring to the conscious descent of a deity from heaven to earth often translated into English as “incarnation,” but a  more appropriate term is “manifestation.” Its meaning is the basis of James Cameron’s visual epic that took fourteen years to complete depicting native life of Pandora, a planet that takes several years to reach in suspended animation. The film is an artistically stunning adventure in 3D worth seeing  even if the story, written in two weeks, is a bit derivative with a  screenplay that borrows heavily from some of the directors previous work and brings to mind too many similarities to Dances With Wolves.

The military look of the film is so reminiscent of  Aliens that it distracted me from  becoming immersed in the film. Aliens is the 1986 classic that Cameron directed about the bugs that gestate in the chest of its living host and have acid for blood. As in Aliens, the company or corporation features prominently as the prime antagonist of evil instigating  the invasion force that plans to drain Pandora’s natural resources for the benefit of Earth. Our planet is now an ecologically depleted waste land, a victim of economic greed that Weavers character, Dr. Grace Augustine, a Bio-Anthropologist opposes as passionately as she did as Ellen Ripley in Aliens.

The feel of the film’s technology including a cargo loader machine similar to the one Ripley uses to defeat the queen bug at the end of Aliens is featured in facsimile in a major battle scene at the end of Avatar. This similarity is an annoying element of this new film which was written, directed and produced by Cameron with a running time of 2 hours and 40 minutes.

Although the 3D nature of the films construction is groundbreaking, the plot is predictable and the characters are too two dimensional drawing  heavily from other science fiction/ fantasy films. The premise that all living things emanate a common energy also known as “the force”  fills everything in the universe is perhaps a reference to the  Star Wars universe , not that there is anything wrong with imitation, but even the forests of Pandora,  a magical place  with luminescent creatures and large revered trees  evokes the image of Lothlorien the mystical home  of the elves of Middle Earth. Add to all this the notion of cloning a personal avatar and a neural link, then  Alien Resurrection and The Matrix comes  to mind. But despite all its flaws, Avatar is worth seeing if only to make one realize that Star Trek (2009) is a much better film.

Although The Nutritional Aspects Of Expanding Populations sounds like a worthy subject for serious study in Biochemistry and Nutrition especially when considering the impact of the large spike in population growth during the post war period and its sociological implications on the  baby boom generation, it became the basis for a landmark 1955 cinematic classic  about the development of a growth serum and how it could be used to solve the problem of overpopulation and world hunger, a neglected subject in the mid fifties.

The elixir depicted in this film adaptation is so potent its promise is in providing the complete nutritional needs of any growing organism, a claim overshadowed only by the myopic scientific experimentation focused solely on animal rather than plant life which could have made it more palatable for vegetarians and provide a sound basis for reducing cardio-vascular disease when coupled by increased exercise and the cessation of smoking.

The film is titled Tarantula and was directed by Jack Arnold and stars John Agar,  Leo J. Carroll and Mara Corday with an uncredited appearance of twenty-five year old Clint Eastwood as a jet pilot dropping napalm at the films’ climax. Arnold went on to direct The Incredible Shrinking Man two years later in 1957 considered by many as his masterpiece and  Eastwood became a multiple Oscar winning director.

In this scenario,  Professor Gerald Deemer  is a scientist with a just motive, a hero trying to avert food shortages which are predicted as a result of the world’s expanding population of two billion in 1955, a role passionately played by veteran character actor Leo J Carroll. This is the premise that sets it apart from most giant bug movies featuring  mutations caused by either nuclear weapons or a demented scientist. In this case its a result of noble intentions gone wrong with a sound display of scientific methodology and  multi layered sub plots such as a budding love story and a rare medical condition known as acromegaly artistically shot in black and white featuring an arid desert with whistling tumbleweeds. It is here Professor Deemer invents a special nutrient on which animals can exclusively thrive causing them to enlarge many times their normal size to serve as a source of food.

Harvested in the professors’ home laboratory are several over-sized rodents and a tarantula that escapes somewhere  in the California, Nevada area, hungry and lurking for prey, growing and yet undetected despite  leaving pools of arachnid venom and skeletal remains whenever it fed.  Why spiders and rodents were used to experiment on instead of cattle or sheep is left unexplained, but  perhaps it  suggests that Deemer thought there may be a time when a high protein diet would be defined by how many legs are on the plate.

Unthinkable imagery created by very sophisticated  visual effects and score, the film has a sharp   witty script written by Robert Fresco and  Martin Berkele based on a story by Ray Bradbury, yet its science fiction basis never diminishes the credibility that advancing bio technology may one day lead to the discovery of such a nutrient with unanticipated consequences.

When a very bored hotel concierge  asks Corday, a 1954 Playboy centerfold who  arrives in town as a biology student working on her Masters dissertation, The Nutritional Aspects Of Expanding Populations and Agar who plays the town doctor, “Well ain’t you going to introduce yourselves?” as they leave the hotel for a ride in his car.

“No” they respond in unison, as the hotel manager scratches his head and  mutters,   “Yep, it can be an awfully fast world.”

Disaster films are most engaging when they convey the immediacy of an unexpected catastrophe that is about to happen at the moment its first perceived. No way out and little time to think, absorbed more with the survival struggle of the main characters, usually portrayed by an array of high profile actors unwilling to accept their fate.

The threat, if caused by something from outer space is relegated to science fiction, possible but not probable when scientific evidence to think creatively is obscured by disbelief - a meteor hitting Earth, or a rogue planet out of orbit as portrayed in When Worlds Collide, a 1933 science fiction novel. A story about two planets, one on a collision course with Earth, the other coming close enough to be a haven for survivors if a rocket ship could be built in time to shuttle to the new planet. The continuity of humanity depends on constructing this ark to transport two of every species to a place that may not even have the climate to support Earth’s biodiversity.  A tale filled with uncertainty and biblical drama as portrayed in the 1951 film of the same name. An end of the world scenario inspiring a string of disaster films with a cast of billions and numerous sub plots. The survival of each character depends on luck and the ability to minimize shock, control fear and be able to act quickly while experiencing catastrophic events. But wait, doesn’t this   sound like 2012, the movie?

The fourth cycle of the Mayan Calender culminates at 11:11 am GMT on December 21, 2012 . An anthropological examination of other cultures and their belief systems independently mark this day for some impending change. As the date approaches, prognostications from many sources will become increasingly quoted from the Hopi, I Ching, and Nostradamus to name a few. What will really happen on this date if anything is unclear. Here is where science can speculate on the possibilities of a sudden planetary event such as the reversing of Poles which would cause a ripple in gravity effecting the very atmosphere of Earth.

The basis of Mayan belief is that time is linear and cyclical simultaneously. They looked towards the sky for architectural landmarks which lies at the heart of the structures they built and their cosmological science expressed in surviving records. The sophicated mathematics of its calender are universally recognized for predicting eclipses thousands of years before they occurred. The ancient texts described knowledge of sudden shifts in the climate and references to the dark center of the Galaxy referred to as the cosmic womb identified long before telescopes found evidence for a black hole as the core of The Milky Way.

Many legendary prophecies continue to be credible as long as they remain generic and open to interpretation. Then if something happens it can neatly fit withing the guidelines of what was foretold, but they can also contain ironic twists associated with understanding their meaning in the context of contemporary thought. Some of the great oracles in history such as the one at Delphi went into trances and gave readings in cave dwellings usually connected to fault lines that exposed gases such as ethylene known to have hallucinogenic effects. The one’s that have some basis in science and mathematics, are not as easy to dismiss even after the anointed interval surrounding the date passes because the factors involved that could make the events happen are noticeably present such as global warming and global dimming.

What is agreed upon is that The Sun, Earth and the other planets of the solar system will be at the center of the milky way in an alignment that only happens once in 25,800 years on the winter solastice of 2012. An increase of solar and magnetic energy from the sun is anticipated, but how all this will impact on the crust of Earth, volcanic activity, movement of the oceans and shifting of the continental plates is hard to assess.

Predicting a great change doesn’t necessarily mean annihilation, and all the remaining records of Mayan civilization indicates is that the end of a cycle will occur on that date. The fact that they associate great disaster and upheaval with the transition between one cycle to another is where all the doom and gloom theories are emanating, and yet no one really knows what will occur at 11:11 am GMT on December 21, 2012.

The Academy Of Motion Picture Arts and Sciences has announced that it will be awarding an honorary Oscar to Roger Corman, the director/producer with a vast array of low budget horror films including The Attack Of The Crab Monsters (1957) and Not Of This Earth (1957). Also among his long list of achievements are loose interpretations of many Edgar Allen Poe’s novella’s as The Pit And The Pendulum (1957) and macabre poems such as The Raven (1963). The films were often over the top and frequently starred the late Vincent Price as the demented protagonist.

So many of Corman’s films are considered B- classics, produced on a low budget, shot in several days and elevating exploitation to an art form that it’s easy to forget the list of distinguished directors and actors who were mentored by him such as Martin Scorsese, Frances Ford Coppola, Ron Howard, Peter Bogdanovich, Jonathan Demme , John Sayles,  James Cameron, Jack Nicholson, Robert DeNiro, David Carradine, Peter Fonda, Talia Shire, Dennis Hopper and so many more. These filmmakers got their first break as members of the elite Roger Corman School of Film Making. All genres owe a debt of gratitude to his visionary form of schlock.

One of his most intriguing works and a personal favorite is the prophetic 1960 pre bot-ox tour de force, The Wasp Woman starring Susan Cabot in the title role as Janice Starlin, the owner and CEO of a cosmetic firm at a time when women did not mingle in the business world let alone run corporations. When sales of her beauty products began to slide as her consumer base realizes she is aging, she was motivated to become the chief patron of a scientist who had devised a method to extract enzymes from the royal jelly of the queen wasp that can reverse the aging process. Starlin agrees to fund further research provided she can serve as his human subject. Displeased with the slowness of the results, she breaks into the scientist’s laboratory after hours and injects herself with extra doses of the formula, causing an unanticipated side effect, transforming her into an angry woman with the head and arms of a wasp resulting in quite a buzz,  aggressively killing all the men on the board of trustees of Starlin Enterprises, sacrificing everything for a youthful appearance. A perfect character study for aging actors and actresses obsessed with reversing the effects of time.

Corman’s last directorial achievement for American International Pictures was Gas-s-s-s (1971), also known by the title, It Became Necessary To Destroy The World In Order To Save It. A dark comedy of a post-apocalyptic gas leak at a military installation that kills everyone on Earth over the age of 25. Look closely for the performances of Ben Vereen, Cindy Williams, and a young Talia Shire.

The noted producer/ director was once quoted as saying, “I can make a film about the fall of the Roman Empire with two extras and a sagebrush,” also appeared in minor acting roles in such films as The Silence Of The Lambs, Apollo 13 and Philadelphia and was given the title, “King Of The Bs,” a reference to over 400 films he has been associated with. The bad news is that the Academy has opted not to present any of the honorary awards during the live telecast, but will give them at the governors award dinner on November 14th. The other honorary awards being bestowed are to actress Lauren Bacall and cinematographer Gordon Willis.

For a complete list of Roger Corman’s cinematic achievements follow the Idbm link

If it were possible to travel to another dimension from the one I am currently in, how similar would my “other” self be, assuming it’s even possible to encounter myself?

There is no guarantee that anyone would look the same wherever “there” is, since events possibly similar or not could happen in a different sequence producing alternate outcomes including changes in a person’s physical appearance. It is possible that any likeness would be so remote as to remove the chance that they would even be recognizable as oneself in an alternate reality. Blue eyes, female and a full head of hair here, brown eyes, male, and bald, over there. Even Enantiomers, known in science as mirror image compounds, have very different chemical properties although they contain the same elements in mirror image positions.

So why bother looking for one’s other self in an alternate reality even if a bridge leading to one were attainable? It is much easier to consider oneself unique, a product of a random genetic selection effected by the environment of the surroundings, generating more causes and effects, redefining self and becoming whatever the accumulation of experiences create.

Individual’s lives, if viewed as alternate realities of each other, are different roles on the stage of existence, varying depending on their random genetic confluence, surrounding environment and personal encounters. Putting oneself in someone else’s shoes and seeing what they see can unfold another reality without ever having to travel to an alternate dimension.

“Long before the stars glimmered in the celestial landscape, roamed the Malacostraca, a creature commonly found by the shore. It was quite a malcontent with an irritating nature and a heart of a true crustacean with five pairs of legs but no matching shews to argue, gazing still at the ocean surface, watching and waiting for anything that moved on the water with pointed claws and head that slightly shaked, eyes half open as if in a meditative state.”

The creature was often found laced in a landscape of vivid green against a backdrop of brown earth tones uncovered by the surf as it defended its turf from the monsters that lurked beneath the waves of bubbly foam as they spread across the sand along the endless stretch of beaches filled with an incalculable number of grains of sand dried by the beating sun. For the Malacostraca had a special way to mark its territory, with a sign and a gesture.

This was part of the fable passed down from one generation to the next, a fragment expressing an epic-law, its written form recently rediscovered and recounted by a sage of some mythic order in the land where Fakirs lie, on a bed of nails gazing at the stars asking: “So where’s the point?” while others walked over hot coals with bare feet, proving they could take the heat.

Such is what life had to offer idea-ted the ancient Seer, and Yet, as he lay, deep in thought, acknowledging others still sacrifice their youngest born to the god Malacostraca, “but to what end?” he pondered, inwardly confused that the last can also be the first. “Ah, he muttered, could this be a paradox?”

He would often tell the onlookers in his most sought after discourse, The Fundamentals of  Cosmology that “many of the ancients claimed they saw the Malacostraca descend from the constellation of Taurus and others thought that this was a bunch of bull, because they argued, it seemed more likely that the creature came from Cancer to match its cantankerous personality.”

One day, reported the philosopher, along came a squirrel who noticed the stationary Malacostraca, one eye going right and the other to the left. “Odd…” thought Rodent, squeezing his nuts tightly, forcing himself to articulate a dialogue, asking politely: “Pardon me, which way is the forest?”

“Can’t you see what’s in front of you?” pointed Malacostraca in a crabby disposition. “Over there,” he pointed with one of his five pairs of feet, “look, a tree.”

“Well, to be perfectly honest Mr. Crab, I can’t tell the forest from a tree since I don’t know how many of them constitute a forest, any more than I know how many grains of sand are needed to make a beach.”

“Are you trying to be cute or are you as dumb as those salmon swimming upstream?” eyed the grouchy crustacean.

“Well, at least I can see straight, instead of having eyes like yours that move separately, this way and that.” said the squirrel.

“Doesn’t that just drive you nuts?” responded the crab, with a hint of sarcasm in his gesture. “One eye sees you and the other see’s that hawk up in the sky diving for its next meal…”

Before the crab had a chance to finish its sentence, the squirrel was flying high above the turf, sand and tree, as the hawk held it in its beak gliding to its nest at mountains top as Malacostraca returned his sharp gaze to the water waiting for anything that moved. For he knew that the danger was from animals beneath the surface of the water that remain unseen.

So, turned the Fakir to the audience, what is the moral in this fable?

The Squirrel And The Rabbit

The number 9 is the natural whole number following 8 ½ and preceding 10, also known as a Motzkin number to indicate the different ways of drawing non intersecting chords on a circle between n points. It’s ordinal adjective is ninth.

A number is evenly divisible by nine if and only if its digital root is 9. For example, adding all the digits of a number until a single digit remains, the digital root of 655,360 is 25, and the square root of 25 is 5. A nine sided polygon is called a Nonagon and a group of nine of anything is called an Annead, quite an odyssey of information.

Nine is also a musical adaptation based on Italian director Federico Fellini’s autobiographical cinematic masterpiece, 8 ½ (Otto e mezzo). The movie was awarded the Best Foreign Film of 1963. His choice of the number as the title of film is said to represent the six feature films, two shorts and the one film Fellini co-directed up to that point. Add music to 8 ½ and you have 9. The film version is currently in production somewhere in Rome and stars Daniel Day-Lewis as Guido Contini and Sophia Loren as Mama in a sweeping epic of creative and sexual reflection set for release November 2009.

links:
- Federico Fellini
- Sophia Loren
- Daniel Day Lewis
- 8 ½
- Motzkin number

September 20th also markes the 75 birthday of Sophia Loren, who has gifted the world with her charm, wit,  grace and elegant beauty. We wish her , her children and grandchildren the very best on this day and for the future.

Happy Birthday Sofia Loren, may you have many more .