Today's Topics:
Masturbation Magic
Conspiracy Time Control
kids these days
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Reply-to: Tim Freeman <tsf@cs.cmu.edu>
Subject: Masturbation Magic
Date: Sun, 10 Sep 89 00:00:13 EDT
Message-ID: <2396.621403213@PROOF.ERGO.CS.CMU.EDU>
From: Timothy.Freeman@proof.ergo.cs.cmu.edu
Interesting tapes from Llewellyn...
Autoerotic Mysticism
(formerly titled Masturbation Magic)
A lecture recording by Dr. Jonn Mumford
0-87542-514-3 $9.95
Re-recorded with new information, this is an unabashed
exploration of the most accessable [sic.] way of relating to Self.
Sexual excitation and release are powerful tools for personal
change. With this tape, Mumford explains this method of
balancing inner polarity and exploring the male and female energies
within you. The moment of orgasm is similar to the Yogic concept
of cessation of the fluctuations of the mind. This is the moment
of greatest mental clarity and power! Included in this lecture are
the techniques of sex magic and using the power of sexual climax to
create transformation.
Llewellyn New Times, Sept./Oct. 1989
To order, send $11.95 (or $12.55 if you're in Minnesota) to:
Llewellyn Publications
P.O.Box 64383-895
St. Paul, MN 55164-0383
They have some interesting books and tapes, mostly from a bulldada
point of view. I don't have a first-hand opinion about whether this
particular tape is interesting or not because my first-hand got sore
and I had to switch to my second-hand. :-). Hail Eris. Fnord.
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Date: Sun, 10 Sep 89 19:06 EDT
From: Michael Travers <mt@MEDIA-LAB.MEDIA.MIT.EDU>
Subject: Conspiracy Time Control
Message-ID: <19890910230638.3.MT@OUROBOROS.MEDIA.MIT.EDU>
TIME-COMPRESSION MACHINES ARE POPULAR TV EDITING TOOLS, BUT CRITICS SAY
THEY DEFACE FILMS
Albert Scardino
Next time Sam plays ``As Time Goes By'' during a television
rerun of ``Casablanca,'' check his tempo. Thanks to the pervasive
use of time-compression machines by broadcasters and programmers,
Humphrey Bogart's time usually goes by in a New York minute rather
than at the languid pace of a Moroccan night.
Since their introduction in the early 1980s as television
editing tools, time-compression machines have come to be used
frequently by broadcasters to make room for more commercials by
accelerating the speed of movies and old television programs. The
additional minutes of advertising time come without increased costs
for additional programming.
The machines are also used to create an artificial level of
enthusiasm among game show contestants and actors in commercials by
speeding up the motion while keeping voices at a normal pitch,
editors and producers say.
``If you can cut 8 percent of a two-hour movie by speeding it
up, you gain almost 10 minutes without cutting any scenes,'' said
Tom Roche, videotape editor at Crawford Post-Production in Atlanta,
a studio that provides editing services to advertising agencies,
television syndicators and other clients.
The devices enable editors to shrink a 31-second soundtrack to
fit a 30-second commercial or to create enough room at the end of a
commercial to add a new tagline without remaking the entire spot.
They permitted more exact dubbing of foreign-language soundtracks
to synchronize words with lip movement.
The machines can accelerate the time by as much as 33 percent,
but at 10 percent or more ``people begin to look like marionettes
out of control,'' Roche said.
At least 500 time-compression machines are in use, said Ronald
P. Noonan, chief executive of Lexicon Inc., the Waltham, Mass.,
manufacturer of the devices and digital audio equipment for the
music industry.
The time-compression machines sell for about $15,000 each and
account for about 8 percent of the company's $20 million in annual
revenues.
The new technology, however, raises issues similar to those
introduced by colorization of black-and-white films and by the
creation of computerized editing of photographs that allow removal
or shifting of elements within the frame, artists and experts in
copyright law say.
``To use these devices before the artist completes his work
makes it part of the creative process,'' said Elliot Silverstein, a
film director active in the fight to restrict the use of time
compression machines.
``But once the artist has completed his work, to change it
without his permission, however subtly, may prejudice his honor or
reputation.''
Lexicon was honored with an Emmy in 1984 from the National
Academy of Television Arts and Sciences for its technical
contributions to editing. But critics contend that ``indiscriminate
use'' of time-compression machines has caused many films and
programs to be defaced.
``To do this without the knowledge of television viewers amounts
to fraud and distortion,'' said Donald L. Pevsner, a lawyer in
Miami who has campaigned for federal restrictions on the use of
Lexicon equipment.
The Federal Communications Commission last year rejected a
proposal from Pevsner to ban the use of time-compression machines
by broadcasters or to require an on-screen notice when they are in
use.
A Senate subcommittee will consider the issue later this month
during hearings on copyright proposals.
``There is no question that a film that has been speeded up with
a soundtrack that has been altered amounts to a derivate work,''
said Paul Goldstein, a professor at Stanford University Law School
who specializes in copyright issues.
Under recent changes in federal copyright rules, an author may
retain the right to control the display of his work, even if he
does not hold the copyright, Goldstein said.
Still, control over the speed of movies and other programs on
television rests with the Hollywood studios and production
companies that hold the copyrights to them. For the most part, they
have ceded the rights to compress a film to the broadcasters as
part of the process of editing material to fit the time alloted.
The development of time-compression machines dates back to the
early 1970s.
Noonan of Lexicon said his company first developed them to
increase the speed of an audio tape to help blind students learn
faster.
Dr. Frances F. Lee, professor at the Massachusetts Institute of
Technology, devised a method for speeding up the tape ``without
making the readers sound like Donald Duck,'' Noonan said.
By coupling the audio device to other equipment, it became
possible to adjust the speed of the visual component while altering
the pitch of the sound track.
Noonan said broadcasters and film makers began to use a version
of the equipment in 1983. Among technicians, compressing quickly
became known as ``lexiconning.''
``Stanley Kubrick used an early version of a time-compression
device to speed up the sound of guns firing in the film `Full Metal
Jacket,''' Noonan said.
``That allowed him to save money on ammunition and make the
battle sound more fierce.''
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Date: Sun, 10 Sep 89 18:05:33 CDT
From: Vlad <UC482529%UMCVMB.BITNET@mitvma.mit.edu>
Subject: kids these days
Message-ID: <8909101914.aa23526@mintaka.lcs.mit.edu>
I said to my 4-year-old brother, "Gimme a 'B'".
"B!", he yelled.
"Gimme an 'O'."
"O!"
"Gimme a 'B'."
"B!"
"What's that spell?"
"Bob."
"Louder!"
"Bob!"
"LOUDER! Tell the WORLD who your favorite Short Duration Personal Savior is!"
"BOB!", he screamed at the top of his lungs.
another convert...
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End of SubGenius Digest
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