Richard Foreman is a man that envisions a symbiosis amongst the several elements of a piece that he can translate through his designs. Critiques and patrons of theater have considered his work a mixture of surrealism, dada, futurism, heavily emphasized through symbolism. He envisions a set where the authors mind is morphed by the elements encompassing the stage. His designs express simplicity without using cliche models. Foreman likes to use frames to express the film reel like lives we see everyday. Those mind frames of thought he wishes to express are done by creating a space on stage expressing layers. These layers represent the complexities of everyday life.
Foreman takes a script for what it is and tries to personify its themes and conflicts with not only the actors and props but what those props do to leave an impression on the audience. He mentions the space between the stage and the 4th wall; he wishes to create an ever changing environment that can somehow mesh the show into the audience's reality. His use of string on stage shows how the layers interconnect and create the connections between every aspect of the stage. His "why not" methods show his Dada influence and how it turns the stage into a representation of the thought processes of the mind.
Perspective is also a huge influence in Foreman's designs; he likes to use the space to highlight scenes that express the perspective characters have on stage. Ultimately, Foreman wishes to have a space the could conform to his current mind set. His attention to aesthetics is shown by the materials like Plexiglas, string, colors, in his productions. The props he uses stir up and energy that creates a pull on the audience; to direct their gaze of the stage in line with the events unfolding the play. That energy is his goal to mediate. Not only does this enhance the affects of the play on the audience, but appeals to the audiences eye; an accomplishment that keeps the audience focused throughout the entire show.
Tuesday, June 2, 2009
Jorge Luis Borges "Poets Creed"
- One reads what one likes, and one writes, not what one would like, but what one is able to write.
- In reading we seem to have the ability to transcend and to stretch beyond ourselves. In writing it seems that we are limited by our own talents, and experiences.
- Borges remembers back to his father's library and recalls stories not by there actual content, but how they made him feel.
- One of Borges definitions of humanity is that to be human is to live in the past and the future, to know a time before one is born, and a time that occurs after ones death.
- Another definition of humanity seems to be able to see yourself, face to face, and know. Perhaps an ecstatic truth, one that gives illumination?
- As a poet, Borges favors being the reader. It seems easier and in my opinion it is. The writing part, and which is a part of Borges Creed is that writing is troublesome and painful.
- "I suppose young men are found of unhappiness, they do their best to be unhappy, and they generally achieve it." A great quote, and it is very clear inside this classroom.
- In poetry everything is feeling.
- To repeat the last two lines of a play or poem, gives the second repeated line more weight. There is a thickening of meaning.
- The mistake that free verse is easier than structure. When, structure actually frees you by making your job easier. You just plug in your ideas into a form. In free verse you must construct everything from scratch.
- The art of hiding and writing as others do, pretending to write in an old "style"
- Borges finds that we are all contemporary. Because, we all exist now. You cannot get away from it.
- "What does being a writer mean to me? It means being true to my imagination."
- Stories as dreams or ideas, not factual re-accounts. Facts are just a web of accidents and circumstances.
- Be loyal to the dream not the circumstance.
- Poetry can harbor laziness, or idle writers. It's easier to hint at something than to write a novel about it.
- Finally he state that he has not real creed and that he only has a few precautions and misgivings.
- In reading we seem to have the ability to transcend and to stretch beyond ourselves. In writing it seems that we are limited by our own talents, and experiences.
- Borges remembers back to his father's library and recalls stories not by there actual content, but how they made him feel.
- One of Borges definitions of humanity is that to be human is to live in the past and the future, to know a time before one is born, and a time that occurs after ones death.
- Another definition of humanity seems to be able to see yourself, face to face, and know. Perhaps an ecstatic truth, one that gives illumination?
- As a poet, Borges favors being the reader. It seems easier and in my opinion it is. The writing part, and which is a part of Borges Creed is that writing is troublesome and painful.
- "I suppose young men are found of unhappiness, they do their best to be unhappy, and they generally achieve it." A great quote, and it is very clear inside this classroom.
- In poetry everything is feeling.
- To repeat the last two lines of a play or poem, gives the second repeated line more weight. There is a thickening of meaning.
- The mistake that free verse is easier than structure. When, structure actually frees you by making your job easier. You just plug in your ideas into a form. In free verse you must construct everything from scratch.
- The art of hiding and writing as others do, pretending to write in an old "style"
- Borges finds that we are all contemporary. Because, we all exist now. You cannot get away from it.
- "What does being a writer mean to me? It means being true to my imagination."
- Stories as dreams or ideas, not factual re-accounts. Facts are just a web of accidents and circumstances.
- Be loyal to the dream not the circumstance.
- Poetry can harbor laziness, or idle writers. It's easier to hint at something than to write a novel about it.
- Finally he state that he has not real creed and that he only has a few precautions and misgivings.
Reading Notes
Update on the reading notes. So far we've posted 5 different readings, so we've got 5 left guys. Reply in the comments which reading you want to work on if you haven't posted one yet.
Reading Notes that are done:
"Behind the Screen Door" - Jimmy
"World on Stage" - Allie & Keith
"Can Theater and Media Speak the Same Language?" - Kira & Keith
"Directors and Designers is there a Different Direction" - Nate
"The Stage as Dangerous machine" - Allie
Reading's not done:
"The Metaphor"
"Poet's Creed"
"Richard Foreman as a Sceneographer"
"Scenography as a Machine"
"Use of Mettapatterns"
Reading Notes that are done:
"Behind the Screen Door" - Jimmy
"World on Stage" - Allie & Keith
"Can Theater and Media Speak the Same Language?" - Kira & Keith
"Directors and Designers is there a Different Direction" - Nate
"The Stage as Dangerous machine" - Allie
Reading's not done:
"The Metaphor"
"Poet's Creed"
"Richard Foreman as a Sceneographer"
"Scenography as a Machine"
"Use of Mettapatterns"
Monday, June 1, 2009
Directors and Designers is there a Different Direction: Notes by Nate
There is often tension between directors and designers during a production. Many directors are seen as the head of a production but in reality they are the head of only half. As described in Directors and Designers is there a Different Direction designers often have to take the role of a 'wife' figure, having to word questions to the likes of "how do YOU think this would look?" in order to gain a response from directors who have the innate need to be in charge of every aspect of a production.
The year 1911 in Germany was a great year for theater. For the first time plays were mixed in with music costumes and intricate colorful sets that were designed for specialists. However, also stemming from this breakthrough was the commonly notion that the designers served the directors. But in 1988 this issue was addressed by The Society of British Theatre Designers as they stepped forward to announce that a change in the artistic collaboration between director and designer must change.
Pamela Howard calls for this change in her article stating that designers should become "architects of the space and the space itself becomes a major player in the production. This is becoming a reality as many designers are becoming just as well recognized as directors and with the new technology available to theaters for creating outstanding sets, this trend can only increase.
-Nate Murphy
The year 1911 in Germany was a great year for theater. For the first time plays were mixed in with music costumes and intricate colorful sets that were designed for specialists. However, also stemming from this breakthrough was the commonly notion that the designers served the directors. But in 1988 this issue was addressed by The Society of British Theatre Designers as they stepped forward to announce that a change in the artistic collaboration between director and designer must change.
Pamela Howard calls for this change in her article stating that designers should become "architects of the space and the space itself becomes a major player in the production. This is becoming a reality as many designers are becoming just as well recognized as directors and with the new technology available to theaters for creating outstanding sets, this trend can only increase.
-Nate Murphy
Saturday, May 30, 2009
LIVE DESIGN - Pilobolus
Here are some live designs by an amazing dance troupe i studied last year. They are called Pilobolus. They have done numerous shadow art designs, and the videos speak for themselves; they're just amazing!
Friday, May 29, 2009
The Stage is a Dangerous Machine: the Designs of George Tyspin
The theater can be dangerous aesthetically as well as practically. George Tyspin, classically trained in architecture in Moscow and then as a designer at New York University, is among one of the foremost modern designers.
Style:- Steel is Tyspin’s favorite material for it’s “sleek beauty and strength”, it is used in many of his designs and sculptures.
-“I’m not interested in periods; I feel incredible freedom. I was never indoctrinated in the sense of ‘this is from this period and that is from that period’. I have total freedom t use whatever I like.” This freedom is most often connected with the postmodern movement, with historical and contemporary elements juxtaposed together.
-Tyspin insists that his approach is organic, “I’m more interested in the essence of things, the textures, the shapes, the space, the historical elements as long as they serve the meaning”
-Influenced by David Mitchell, in his ease with mechanical transformations.
-employs the vertical to achieve a “spiritual dimension” as well as adding additional focal points.
-Islamic architecture in how it makes an understanding of how a building is put together impossible, as well as how it seems to melt into the air.
Shows:
1)The Screens by Genet.
- Created a sand y dessert of stage
-Tyspin designed a net that hangs above the stage to represent the land of the dead. He called in a German engineering firm to help design the net to hold up to 40 bodies as well as appear light and airy.
2)The Electrification of the Soviet Union
-set inside of a train car that was flexible
-his work on this set exemplifies his collaborative nature where he and director Peter Sellers formed the idea of the malleable train car.
3)The Cabinet of Dr. Ramirez
-this was the first film that Tyspin worked on, it was a remake.
-the original had been black and white and tyspin wanted to carry that feeling by having intense colors. “to really go to essentials in color where every color becomes a state of mind”
-Played with the loneliness of new york “whatever is not onstage is just as important as what is”
4)The Ring of the Nibelungs - Wagner- In this design Tyspin wanted to design with all the elements, and create a space where “the audience and the stage were intertwined”
-“the first note of the opera sounds in the darkness, and then there was an explosion of glass and metal. The platforms begin moving and action immediately becomes spatial”
-The design for this set took over the Netherlands Opera, with set changes waiting in the lobby and coming out into the street.
Sculptures:
-Tyspin has held gallery shows for his sculptures
-They are created after the show has been designed and act as monuments to the shows.
-They are not quite stage models, but more conceptual of how Tyspin would have designed in an ideal world with no limitations of floor space for actors.
-These monuments set Tyspin apart from almost all other American designers who keep almost no record of their work and just design shows back to back. Tyspin remain the artist instead of making a career out of designing.
The Danger:
-in later years, Tyspin did very little work in the United States as his designs were too dangerous.
-His design for War and Peace had been performed in many other cities without fault, it wasn’t until New York did a mishap occur. But Tyspin felt the sage itself was safe but that “there was something getting into people’s subconscious. There was a perceived danger in the design.”
-Tyspin is dismayed at all the new safety regulations on what he can and can not do in the theater space.
Wednesday, May 27, 2009
Visiting the Web
I visited the web today to add my origami. Since the cocoons did not get made I made my own version. Using the class syllabus I fold it into what is called an origami ballon. I pinned them to the web to look like cocoons. I liken the paper to the thread that holds our class together, and what is cocooned is our ideas and thoughts. Below you will also find a video of how I folded the paper. Enjoy.
Tuesday, May 26, 2009
Readings
So I was looking through all the old posts to see what readings have and have not been done.
Reading Notes that are done:
"Behind the Screen Door"
"World on Stage"
"Can Theater and Media Speak the Same Language?"
Reading's not done:
"Poet's Creed"
"Directors and Designers is there a Different Direction"
"Metaphor"
"The Stage as Dangerous machine"
"Richard Foreman as a Sceneographer"
"Stage as a Machine"
"world on stage" and "can theater and media speak..." were both done twice.
-Angus
Reading Notes that are done:
"Behind the Screen Door"
"World on Stage"
"Can Theater and Media Speak the Same Language?"
Reading's not done:
"Poet's Creed"
"Directors and Designers is there a Different Direction"
"Metaphor"
"The Stage as Dangerous machine"
"Richard Foreman as a Sceneographer"
"Stage as a Machine"
"world on stage" and "can theater and media speak..." were both done twice.
-Angus
Recap
Hi all,
Great work everyone, on the Stage Design presentation. We kicked major ass, we should all be proud of our hard work. Now it's time to present our Environmental Design. It's some how strange since this is the thing we started out with. Well now is the time to show it off.
If you are curious and aren't apart of our group, now is the time to go see the Right Angles' Web Of Ideas. You can follow this handy map!
Right Anglers', remember we will also meet 45 minutes before class on Thursday to discuss our presentation style. We will also touch on our live design project so be prepared to talk about that and think of a time to actually rehearse it.
As always, if you have any questions please do not hesitate to ask.
Cheers,
Brian
Great work everyone, on the Stage Design presentation. We kicked major ass, we should all be proud of our hard work. Now it's time to present our Environmental Design. It's some how strange since this is the thing we started out with. Well now is the time to show it off.
If you are curious and aren't apart of our group, now is the time to go see the Right Angles' Web Of Ideas. You can follow this handy map!
Right Anglers', remember we will also meet 45 minutes before class on Thursday to discuss our presentation style. We will also touch on our live design project so be prepared to talk about that and think of a time to actually rehearse it.
As always, if you have any questions please do not hesitate to ask.
Cheers,
Brian
Thursday, May 21, 2009
YAY!
OK so I'm here with Brian and we're ready! lets go right angles! this shit looks so good, i can see it coming alive on stage with the music and the costumes!
k.shaw
k.shaw
Wednesday, May 20, 2009
Music
Angus & I met this afternoon and talked about music. We were on the same page about this music shoul contain a childlike quality. As the director I can't help think of this concept as this play, this story, is taking place inside a child's mind. So Angus found some music of a band that makes childrens music, but plays it as if it's for adults.
I found music that turns rock music in to lullaby's for baby's. Pretty haunting stuff. We also looked at other music that was made for video games, and horror film soundtracks. Tomorrow I will bring the disc I made tonight and hope that you all like it. I kinda scored it to what's happening in the story.
We talked alot about the story and what characters, what's happening, what's the feeling. We often asked, "What's happening, now?" We've got a theme for the White Witch, and some nice builds for the battle scene.
We're going to have a great proposal. I'm excited to see what we can dream up for our Live Design.
I found music that turns rock music in to lullaby's for baby's. Pretty haunting stuff. We also looked at other music that was made for video games, and horror film soundtracks. Tomorrow I will bring the disc I made tonight and hope that you all like it. I kinda scored it to what's happening in the story.
We talked alot about the story and what characters, what's happening, what's the feeling. We often asked, "What's happening, now?" We've got a theme for the White Witch, and some nice builds for the battle scene.
We're going to have a great proposal. I'm excited to see what we can dream up for our Live Design.
Stage Design Project- Costumes (Kira)
this is the email i got from Kira. Mainly posting for Jules to include on the Power Point. Hopefully Kira can post something... and ill call you tonight so we can concertize...
most of the characters are animals, so i dont kno what i want to do with those. as far as the children, i want them in pajamas, white pajamas and the older girls in slips.
the white white is going to be in white horse motif. in a white pin up outift with a white chess piece horse life hairdo. living on top of the shoe she embraces evil and the aminals.
there will be a clear twnties, fifties, sixties, eighties characters.
i sent you some pictures, i was thinking maybe a celebritiy vibe, for the inspiration for clothes.
do we wanna dress the animals like that? or switch the animals to people? make it super abstract? what do you think? email or call me
kira
And her pictures:
most of the characters are animals, so i dont kno what i want to do with those. as far as the children, i want them in pajamas, white pajamas and the older girls in slips.
the white white is going to be in white horse motif. in a white pin up outift with a white chess piece horse life hairdo. living on top of the shoe she embraces evil and the aminals.
there will be a clear twnties, fifties, sixties, eighties characters.
i sent you some pictures, i was thinking maybe a celebritiy vibe, for the inspiration for clothes.
do we wanna dress the animals like that? or switch the animals to people? make it super abstract? what do you think? email or call me
kira
And her pictures:
Stage Design Project- Concept (Continued)
Conceptual Influences:
Shakespeare Santa Cruz's
Shakes To Go: Midsummer Nights Drean
Defamiliarization
-using sheets to create fairy wings for Titania
-feather boa becomes Lion's mane
Kate Edmund's Design for Shakespeare Santa Cruz's Holiday Show
The Wind in the Willows
their whole concept=very similar
The entire show takes place in an attic; everything created from everyday objects
Example: Bed frame becomes jail cell
White Witch Concept:
Staircase for palace/grand entrance:
Staircase- Stiletto shoe
Statues of Frozen People- Chess Pieces, Art pieces (statues or paintings)
Beaver House- Basket
Path/Stepping Stones- Puzzle Pieces
To Be Continued...
Shakespeare Santa Cruz's
Shakes To Go: Midsummer Nights Drean
Defamiliarization
-using sheets to create fairy wings for Titania
-feather boa becomes Lion's mane
Kate Edmund's Design for Shakespeare Santa Cruz's Holiday Show
The Wind in the Willows
their whole concept=very similar
The entire show takes place in an attic; everything created from everyday objects
Example: Bed frame becomes jail cell
White Witch Concept:
Staircase for palace/grand entrance:
Staircase- Stiletto shoe
Statues of Frozen People- Chess Pieces, Art pieces (statues or paintings)
Beaver House- Basket
Path/Stepping Stones- Puzzle Pieces
To Be Continued...
Stage Design Project- Concept
Play: The Lion, the Witch, and the Wardrobe
Here's what sort of inspired the concept:
Monologue from Tony Kushner's Angels in America: Millennium Approaches
Harper is hallucinating. Prior is dreaming. The two meet.
Harper:
I don't understand this. If I didn't ever see you before and I don't think I did then I don't think you should be here, in this hallucination, because in my experience the mind, which is where hallucinations come from, shouldn't be able to make up anything that wasn't there to start with, that didn't enter it from experience, from the real world. Imagination can't create anything new, can it? It only recycles bits and pieces from the world and reassembles them into visions... Am I making sense right now?
Key words: recycle, reassemble
Basic Plot of Lion, Witch, Wardrobe
Kids get sent to a boring home in the country for the summer.
Find Narnia, a mystical land through a wardrobe.
Our take:
The kids are still in the house (they can't physically enter a mystical world through a wardrobe).
Narnia is imaginary.
The imagination (Angels in America) cannot create.
Everything in Narnia is in the house.
Random objects in the house serve as inspiration for their imagination.
Concept
A defamiliarization of everyday objects.
The kids are able to use objects they find in the house as something new.
Think: its almost as if the kids are playing with action figures of themselves. While still in the physical world of the house, these action figures can be inserted into a fantasy world. Because of their size, a household pet (for instance) would become a monster to an action figure.
Important!
Nothing in the imaginary world could be just labeled as fantastical. Everything needs an explanation and a real parallel.
This served as the leaping point for our concept and we thought about what everyday objects could be transformed into something new and different.
Initial Sketch:
Key Locations/Elements:
Inspiration and Trasformation
Forest- Forks, Silverware, Coat Hangers/Hat racks, Brooms(?)
Lamp Post- Candle Stick, Desk Lamp
To Be Continued...
Here's what sort of inspired the concept:
Monologue from Tony Kushner's Angels in America: Millennium Approaches
Harper is hallucinating. Prior is dreaming. The two meet.
Harper:
I don't understand this. If I didn't ever see you before and I don't think I did then I don't think you should be here, in this hallucination, because in my experience the mind, which is where hallucinations come from, shouldn't be able to make up anything that wasn't there to start with, that didn't enter it from experience, from the real world. Imagination can't create anything new, can it? It only recycles bits and pieces from the world and reassembles them into visions... Am I making sense right now?
Key words: recycle, reassemble
Basic Plot of Lion, Witch, Wardrobe
Kids get sent to a boring home in the country for the summer.
Find Narnia, a mystical land through a wardrobe.
Our take:
The kids are still in the house (they can't physically enter a mystical world through a wardrobe).
Narnia is imaginary.
The imagination (Angels in America) cannot create.
Everything in Narnia is in the house.
Random objects in the house serve as inspiration for their imagination.
Concept
A defamiliarization of everyday objects.
The kids are able to use objects they find in the house as something new.
Think: its almost as if the kids are playing with action figures of themselves. While still in the physical world of the house, these action figures can be inserted into a fantasy world. Because of their size, a household pet (for instance) would become a monster to an action figure.
Important!
Nothing in the imaginary world could be just labeled as fantastical. Everything needs an explanation and a real parallel.
This served as the leaping point for our concept and we thought about what everyday objects could be transformed into something new and different.
Initial Sketch:
Key Locations/Elements:
Inspiration and Trasformation
Forest- Forks, Silverware, Coat Hangers/Hat racks, Brooms(?)
Lamp Post- Candle Stick, Desk Lamp
To Be Continued...
Stage Design Project- Pictures
As you know... we are going... TOMORROW. So hopefully everyone is ready for that.
Here's the pictures documenting how we made our model.
The Raw Materials
Stage Beginnings:
Ramp Inserted:
Lamp Post and mock coat hangers Made:
Nate bending the wire coat hangers:
Tea Cup, Lamp Post, Beaver Damn inserted:
Decorations (Puzzle Piece Path and Chess piece Statues) and Stiletto Staircase added:
Turn Table with Wardrobe constructed:
We had so much fun:
Here's the pictures documenting how we made our model.
The Raw Materials
Stage Beginnings:
Ramp Inserted:
Lamp Post and mock coat hangers Made:
Nate bending the wire coat hangers:
Tea Cup, Lamp Post, Beaver Damn inserted:
Decorations (Puzzle Piece Path and Chess piece Statues) and Stiletto Staircase added:
Turn Table with Wardrobe constructed:
We had so much fun:
Stage Design
Hey group,
I am sad to say that I will not be present tomorrow for the stage design. I'm leaving home to LA tomorrow and unfortunately wont be able to help you guys represent for the 10 right angles.
<3 u lots!
Krys
I am sad to say that I will not be present tomorrow for the stage design. I'm leaving home to LA tomorrow and unfortunately wont be able to help you guys represent for the 10 right angles.
<3 u lots!
Krys
BUGS!!!
Today I added my bug to the unfortunate clan out in the web. Here are some pictures of the making of, and installing of my little lady bug. It is made out of tracing paper and paper mache and water colors.
Here it is as just some wet paper mache and a balloon, and me desperately trying to get it to dry at 1AM.
Here is it all painted up and ready to be assembled
At first I hung it to the web, but then realized that the lady bug didn't want to fly.
so I tied it onto the tree, it looks much happier there.
Here's a nice shot I got of the whole web, it's really becoming something amazing!
Here it is as just some wet paper mache and a balloon, and me desperately trying to get it to dry at 1AM.
Here is it all painted up and ready to be assembled
At first I hung it to the web, but then realized that the lady bug didn't want to fly.
so I tied it onto the tree, it looks much happier there.
Here's a nice shot I got of the whole web, it's really becoming something amazing!
Monday, May 18, 2009
Adding Kira's Bugs.
Today I walked to the web to add Kira's bugs and some flowers that she made. I also snaped some cool photos.
I climbed the tree to take this one, it made me happy. Yay!
And, this one was my attempt at taking a POV shot, "What would it look like from a spider's point of view?"
enviornmental design
hey guys! the web looks sooooooo great!!! sorry again for not being able to make it this sunday but i gave my bugs and flowers to brian and hes gonna put em up with his stuff either today or tomorow after class! lets talk tommorow about the stage design and lock down a song!!!
love
k.shaw
love
k.shaw
INTERVIEW WITH DR. SETH SHOSTAK
Unfortunately I was unable to meet with Dr. Shostak in person. He was called away to New York City to tape a television appearance. He was kind enough to reach me by phone and I transcribed his answers into a little script. Here is an account of our call:SETH: Hi, am I talking to Brian Luce?
BRIAN: Yes?!
SETH: Good. Brian, I just wanted to let you know that you’ve won the California State Lottery. It’s a sum of 4.2 million dollars … how do you feel?
BRIAN: (Smugly.) Where’s the other .8 million?
SETH: Hey Brian, it’s Seth, but you probably already guessed that. (Laughs.) How you doing, man?
BRIAN: Good, I’m glad you called, where are you?
SETH: I’m sorry I couldn’t be there; I’m in the Big Apple. I’m going on the Colbert Report to promote my new book.
BRIAN: Cool, I’ll have to check you out. When does it air?
SETH: Wednesday. Listen, I haven’t got much time. Are you okay with doing this over the phone?
BRIAN: Absolutely. I’ll start out with your bio, which you of course wrote:
As Senior Astronomer at the SETI Institute (Search for Extraterrestrial Intelligence), Seth is an enthusiastic participant in the Institute’s SETI observing programs. He also heads up the International Academy of Astronautics’ SETI Permanent Study Group.
In addition, Seth is keen on outreach activities: interesting the public – and especially young people – in science in general, and astrobiology in particular. He’s co-authored a college textbook on astrobiology, and continues to write trade books on SETI. In addition, he’s published nearly 300 popular articles on science, gives many dozens of talks annually, and is the host of the SETI Institute’s weekly science radio show, “Are We Alone?”
Did I forget anything?
SETH: That I also am the editor of the SETI Quarterly magazine, The Explorer.
BRIAN: Thanks for being on the phone with us tonight to grant this lowly interview to our dynamic group. The Ten Right Angles. I was wondering if you could briefly explain what the SETI Institute does. And, for those who are curious, who funds the SETI Institute?
SETH: The SETI Institute is a privately funded organization that basically points it radio telescopes or “listens” to distant stars for radio signals emanating from other planets. We’re looking for ET. I’d also like to make it clear that NASA does not have a SETI project.
BRIAN: So, it’s like the movie Contact with Jodie Foster.
SETH: Well, sort of. Carl Sagan is one of the founding members of the SETI Institute, way back when this program did belong to the government. Carl Sagan, as you know penned the book, Contact.
BRIAN: Now that we’ve gotten some of the background out of the way let’s move on to the questions my group asked. So, I went through the list of dozens of questions that were posted on our blog at www.10rightangles.blogspost.com, and combed out the most pertinent and the most intriguing questions. Ready?
SETH: Shoot!
BRIAN: When you originally came to college, was searching for extraterrestrials your dream, or did you have another dream as a freshman in college?
SETH: Well, I had always been interested in the possibility of alien life -- I read books about it when I was a kid. But in college, I was torn between wanting to go to the moon and wanting to save railroad passenger service. So far, I've done neither.
BRIAN: I want to know this one. Do people ever mistake you for a radio horoscoper and ask you about their love lives?
SETH: (Laughs.) Not a radio astrologer, but occasionally an ordinary astrologer. I try to gratify their wishes by telling them something about their futures... for example, that they're going to lose 20 pounds this weekend, and make a few million bucks on the lottery. I never see these people a second time.
BRIAN: What kinda of music do you like?
SETH: I like most musical forms, other than jazz. But when I buy music, it's mostly classical. Love the Russian romantics.
BRIAN: What movie made you think the most?
SETH: Lots of movies have made me think about things, but the movie that made the biggest impression on me was the original version of "War of the Worlds". I saw it as a kid, and many times since. Unlike the Spielberg remake, the Martians were pitiless in the original. Truly horrifying.
BRIAN: What is your take on the Roswell incident? Area 51? Abductions?
SETH: Regarding Roswell, that was the best thing that ever happened to that New Mexico town. I don't think aliens crash-landed there, however. Same with Area 51 -- lots of secret aircraft, but I doubt that they have the aliens in drawers there. As for alien abductions, well, seems strange they would come hundreds of light-years to prod and probe us. Charles Darwin didn't do that to the iguanas of the Galapagos, and they at least had DNA.
BRIAN: You did a radio show from Roswell once, right?
SETH: That’s right. If you remember it was an on-the-road radio show.
BRIAN: Is it still up on the "Are We Alone?" website?
SETH: I’m not sure, but it’s worth checking out.
BRIAN: How do you think the public would respond to a confirmed existence of extra terrestrials?
SETH: I don't think they'd go non-linear at all. If we were to pick up a signal, I'm sure the overwhelming reaction would be ... that's interesting. Tell us more.
BRIAN: That sounds very civil, perhaps wishful.
SETH: (Laughs.) You know, we’ll get some nut jobs, but we get those people calling anyway.
BRIAN: We sure do. If life where to have occurred elsewhere in the universe, what is the likelihood that it would be similar or identical to that of earth? What kind of life-form do you think they/it would be?
SETH: If they're biological life forms, then the safest bet is that they, like us, are carbon-based. That just makes good sense from a chemistry point of view. But if we find intelligent aliens, they may very well have moved on to artificial intelligence, and could be made out of anything.
BRIAN: Where do you think this type of technology will put us in terms of communication in 20 years?
SETH: SETI follows developments in digital electronics, rather than leads. But of course our terrestrial communication systems are becoming cheaper and ubiquitous. Everything will be wireless soon enough....
BRIAN: Using this technology, what have been some more of the interesting findings over the years?
SETH: SETI hasn't yet found a signal, but the radio astronomers have discovered things we never even imagined could exist -- such as pulsars and quasars, not to mention perhaps the most significant find of all: the remnant radio "glow" from the Big Bang.
BRIAN: How do you handle criticism of people who think the search for extra terrestrials is all nonsense?
SETH: Nonsense?! I grant them that this effort is a long shot. But then I ask them if they think it would be important to learn that we have cosmic company. They almost invariably agree that it would be VERY important.
BRIAN: Where do you think the intersections between this science and the arts are?
SETH: (Pause.) All over the place, but the interaction is mostly faulty. That's because people specialize a lot these days. The era of the Renaissance Man ended with ... the end of the Renaissance!
BRIAN: You said it man. Well, that’s it. I’m glad I did this. I know I learned a few things about you that I hadn’t known before. Thank you Seth for you time and your responses. I thank you and I know 10 other students thank you.
SETH: My pleasure. I hope this gets you closer to that theater degree.
BRIAN: (Pause.) Bye, Seth.
SETH: Talk you later, man.
BRIAN: Seth’s radio show is called "Are We Alone?" and can be found on the SETI website. If you want more information on the SETI Institute and the search for life in the universe please visit, http://www.seti.org/.
Sunday, May 17, 2009
The Tree
I am excited about the tree, cant wait to put up my little insects! :D I already heard someone talking about it!
Map to the Tree
For those of you who are still unsure of where the tree for our design is. I've made a very basic map on how to get there. If its confusing, then just let me know!
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