Author Topic: CINERAMAX IMMERSIVE OVERLOOK PENTHOUSE - It's Origins  (Read 72 times)

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Offline Peter CINERAMAX

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« on: Mon October 09, 2017, 10:10:23 PM »
You don't even need a flashlight to look for cave paintings in the dark: you just need the sound of your own voice. By listening to echoes as they walk through Spanish caves, acoustic archaeologists are unlocking the secrets of underground soundscapes.

Prehistoric cave paintings, as it happens, aren't scattered at random underground. Archaeologists at a series of Spanish caves have found that areas decorated with cave art also have special acoustic properties. In an interview with Nature, Rupert Till mentions a colleague who claims to "locate the paintings in complete darkness by using his voice to gauge the resonance of the spaces." It's like human echolocation—but to find art instead of prey.

Last year, Till and a group of researchers explored the prehistoric art at the Cantabrian Caves in Spain. In this case, they brought along a laptop and a loudspeaker to map the caves' acoustic fingerprints. Preliminary expeditions in the past were more low-tech with just their voices and hands and sometimes a whistle to guide their exploration.

As the cave paintings they found got older, however, they noticed a change in the acoustics. "The oldest paintings, from up to 40,000 years ago—some as simple as dots or handprints—tend to be in small, intimate places where there is less reverberation," Till told Nature. "Perhaps 15,000 to 20,000 years later we get paintings of animals like deer and bison, sometimes overlaid on top of each other, starting to appear in more echoey spaces that are large enough for groups of people to have gathered for rituals."

Along with cave art, our ancestors had made cave music of sorts. Instruments like a flute made of vulture bone and stone bullroarers have also been found underground. The echoing, haunting soundscape of caves produced music that would sound strange to our ears. Do you have one more minute? Listen to French musicologist Iégor Reznikof sing ancient cave music. [Nature]!/menu/standard/file/Haking-Linn_Tracing_Upper_Palaeolithic_People_in_Caves.pdf
« Last Edit: Tue October 10, 2017, 07:58:21 PM by Peter CINERAMAX »

Offline Peter CINERAMAX

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« Reply #1 on: Tue October 10, 2017, 07:45:45 PM »
Chauvet-Pont d’Arc Cave is the original home cinema,not only the paintings were spectacular but the location where they were painted are phenomenal but that particular part of the cave had special qualities in close personal space invading immersive audio.

This new Cineramax Overlook Penthouse is as picky about creating the ultimate sound bubble as our progenitors of 34 thousand years ago in these caves.

Prehistoric peoples chose places of natural resonant sound to draw their famed cave sketches, according to new analyses of paleolithic caves in France.

In at least ten locations, drawings of horses, bison, and mammoths seem to match locations that focus, amplify, and transform the sounds of human voices and musical instruments.

"In the cave of Niaux in Ariège, most of the remarkable paintings are situated in the resonant Salon Noir, which sounds like a Romanesque chapel," said Iegor Reznikoff, an acoustics expert at the University of Paris who conducted the research.

The sites would therefore have served as places of natural power, supporting the theory that decorated caves were backdrops for religious and magical rituals.

An intriguing possibility—but one that Reznikoff admits is hard to test—is that the acoustic properties of a cave partly influenced what animals were painted on its walls.

For example, "maybe horses are related to spaces that sound a certain way," he said.

Reznikoff will present his latest findings this week at the annual meeting of the Acoustics Society of America in Paris.

Strategic Placement

Reznikoff first noticed the strategic placement of cave art while visiting Le Portel, a paleolithic cave in France, in 1983.

An expert in the acoustics of 11th- and 12th-century European churches, Reznikoff often hums to himself when entering a room for the first time so he can "feel its sounds."

He was surprised to discover that in some of the rooms in Le Portel decorated with painted animals, his humming became noticeably louder and clearer.

"Immediately the idea came," he told National Geographic News. "Would there be a relationship between the location of the painting and the quality of the resonance in these locations?"

Slinking through rocks gaps, down passageways, hovering past stalactites, over fossilized remains, the camera, at a roughly eye level, progressively reveals the centerpiece of the Cave: Dozens of paintings, some of the earliest ever discovered, of horses heads, mammoths, bears, cave lions, panthers, hyenas, two rhinoceroses butting horns, red ochre hand prints and dots, a partial Venus figure.

Werner Herzog pictured the Chauvet-Pont d’Arc in 2010’s docu-feature “Cave of Forgotten Dreams.” Accompanied by graven organ music – think Cliff Martinez, but an original soundtrack from Damien Vandesande and Clément Aichelbaum – “The Final Passage” is the full picture of the cave and its paintings, among the oldest yet discovered – dating from as much as 35,0000 years ago – as they might have been seen by its last human visitor – hence the film’s title – before a landslide covered the entrance. As in a modern age, man wrapped up in art, here of bounteous animalscape murals, elements vital to its wellbeing or dangers – the multiple big cat depictions – to its survival. Maybe mankind hasn’t moved on that much.

“The Final Passage” world premiered at Switzerland’s Locarno. Variety talked to Martin Marquet, also a highly-regarded film publicist, who produced the film with Guy Perazio and Patricia Geneste.

One marvel of the “The Final Passage” is what it depicts: the Chauvet-Pont d’Arc cave. What is its importance in history and in the history of art?

Over 35,000 years, our ancestors painted and engraved images of their life onto the rocky surfaces of their natural environment such as caves. These figurative representations, known today as rock art, serve as the earliest form of communication, allowing humans to share their ideas and observations of the world and their existence within it. Chauvet was discovered 20 years ago, and for preservation purposes it’s closed to the public, although it’s an archeological site of world class heritage that needs to be shared as widely as possible. Using the most advanced and sophisticated technologies to serve a realistic experience of the cave art, we produced “The Final Passage” an immersive and exclusive cinematic experience of the Chauvet Cave.

”The Final Passage” seems a homage to cultural diversity, in time rather than geography, suggesting that mankind, even 36,000 years ago, created a complex civilization, turning, in terms of rock art on the animals whose hunting ensured survival. Could you comment?

Absolutely. I would say that through my personal experience exploring prehistoric rock art, I discovered a mental, spiritual and particularly powerful world of artistic expressions that I like to compare – or that revealed itself – as being like street art today. Rock art truly is our most ancient artistic legacy, and the film is most definitely an homage to all of us, as diverse as we are today in our cultures. The artistic concept of using our environment – a rocky surface or an urban wall as the canvas – is quite possibly humanity’s most noble and genius thinking which 35,000 years later is still remarkably valid, alive and dynamic in contemporary creativity. Rock art or street art, it’s the link that these arts share with their environment that lead to unique and emotionally charges perceptions of the world.

Another wonder is the shooting style that seems like a 26-minute traveling shot through a grotto cave. How was that achieved?

Considering the restrictions to access the original site, and given our ambitious aim to produce a cinematic experience of the cave that would be as realistic and immersive as possible, we had to follow an experimental approach in our filmmaking. The film was entirely built from a digital clone of the Chauvet cave, which consists is the composition of 3D laser scan data of the entire cavity and extremely high definition photography of the paintings. That first model was then enhanced with the development, programming and application of an original line of visual effects to allow us to virtually recreate every “living” aspect of the cave, such as the stalagmites, the crystals on the floors, the water drops, and so forth … so that the audience could visualize and sense the dark, mineral and humid atmosphere of an underground space where men intentionally painted episodes of their lives for us to discover today.

Not too far away in 1987 the Lumiere Brothers exported Film for the First Time To NY, LONDON but also Havana.

I will describe the technical achievements and chain of technological progress as seen in the cuban-american school of home theater that espouses american high volume technological proven building blocks with pan european sensibilities and high level ideas.

The immersion worm school of home theater design which is the very first to embrace LED WALLS.

After a number of other private screenings, the Lumière brothers unveiled the Cinématographe in their first public screening on December 28, 1895, at the Grand Cafe on Paris’ Boulevard de Capuchines. In early 1896, they would open Cinématographe theaters in London, Brussels, Belgium and New York. After making more than 40 films that year, mostly scenes of everyday French life, but also the first newsreel (footage of the French Photographic Society conference) and the first documentaries (about the Lyon Fire Department), they began sending other cameramen-projectionists out into the world to record scenes of life and showcase their invention. By 1905, the Lumières had withdrawn from the moviemaking business in favor of developing the first practical photographic color process, known as the Lumière Autochrome. Meanwhile, their pioneering motion picture camera, the Cinématographe, had lent its name to an exciting new form of art (and entertainment): cinema.

Film Scholars define CINEPHILIA as the communal reaction to large moving images, the first time an audience collectively ducked out of the way in History was the locomotive coming towards the camera in 1895.

In 1897 the Lumiere Brothers seeking better light brought cinephilia to America through Old Havana, by launching the firefighting horsecart towards the camera. The Fire Station located In the same acres my great great grandfather (ex lover of Isabella II- the promiscuous Hapsburg queen) that had been sent from Spain to fight the rebel army and where he accumulated 500 confiscated properties. He was known according to my Aunt, as the terror of Havana. Perhaps my fighting spirit comes from there, but i have a much higher moral ground.:D

selfish bastard pan-atlantic school of home cinema design LOGO.
« Last Edit: Sat October 14, 2017, 04:12:49 PM by Peter CINERAMAX »