Page 1


"-

1.

"PiRSMidas

on

20th

-

film

and

- not

1972-198411

March

1984,between produced

was

was

by

filmed

in

April,as

it

11:34:00 "Balazs

and Bela

Hunagary

says on the 11:39:00 Studi~"

a.m. from

Budapest.

5.

many others.

CIVILIZATIONS, Einstein,

for

works and scientific texts by different were used in the preparation. The idea of advance,was

the film,worked out directly transfered

12 years

and

lasted items

film 120

the than

for more

The preparations

the OLD Tse,Albert

art

Waclaw Szpakowski,and

of

4.

to

bibliography

3.

The film is dedicated Hermes Trismegistos,Lao

A

2.

authors

in detail on to the

in cellu-

loid tape - with no additional interventions, such as cutting,being necessary. 6.

The film distinct of the

is

P;

co~etely

centres.One perspective

symmetrical,with of point

them is imagined

an

two

illusory axis in space,around

which the camera makes a spiral rotation - this is the CENTRE with respect to SPACE;the other is the middle of the film tape,in the 7,26lst frame of the film - this is the CENTRE with respect to

The END of

the

the

while with

voice,

FEMALE

14,521

camera in

film

is

I.LG, .tdlC;-

at

uninterrupted

single

ONE

shot,having

of the

emphasized

is

and

MALE

a with

colours,

1/24 of a second of silence.

made

film

continuing

positions

9.

is midd1e,which

Track "ABSOLUTE"

sound

The

was

8.

prismatic

SEVEN

the

7.

The

TIME.

frames,with

4

basic

60 cycles. the

same time

its

BEGINNING.


INTRODUCTION TO THE FILM

"

PiRaMtdas

1972

- 1984

by Ivan

Ladislav

Galeta

,;


Galeta All rights reserved. No part of this material may be reproduced or transmi in any form or by any means,electronic or

mechanical,

recording and

in

including,

or

any

retrieval

wri

tinf!,

information

system,

from

photocopy,

the

without

artist..

storage permission

t,ted


1

FIRST PART

Ii

Before starting point out that

my presentation I wish to I am concious of the ambi-

tiousness,perhaps

even

pretentiousness

of

the title of this presentation "INTRODUCTION TO THE FILM' and of the text that is at the beginning and the end of the film, that reads: "In Honour of Old CivilizatiTrismegistos,Lao-Tse,Albert

preparation

and

-

tles.This ts.The

meterial first

second

part

the

of the based

film on sou-

divided

in

textual

material,

includes

world

The realization th

was

works

production

two par-

which of

are

the

avant

cinema.

of

is

includes

and the

II.

making

198 4"

containing

~

1972

rce,material

,.

"PiRalVI1das

Szpakowski

more

The

Wac.taw

ti-

and

120

Einstein

than

ons,Hermes

-garde

fJ..

the

of

this

preparations,took

film,

together

off,and

wi-

on,twel-

ve years. The idea which I later to the film was first

that

I wrote

in

1972.

tried to expressed

build in

in-

a text


I

canteplate:

lIthe junction. of the pyramid

sid..

are its edge.. the apex of the pyramid

i.

the 8um

of the

remain. the S8.8&.

is

that point

the beggining or

pyramid?

t.h~ Af~2/,ff+3

II

Aq~2.

I

14 Wlo/>

f.r

~

h'lA--

-1,.f

t-

wrY,..:(

-:J

(1"""'"

'tit-"

r""",'u(

L'

~

~

q

w

'1i

~

~

J

p,-tM.t.ll(

~

~

;'1'

,

11i\;v

always

the end of the

A

~CIo{"

a

which "aize"

~"f-

1=I"Y~

one point

rt;::~~~

U

r1t'1

in

'

w

...t

1,,'

kA't.A-

If

M-

~

their nultber, all the aides

1\'cUA.

edge.. regardles8 of


2

I conteplate:

"The

junctions

of the

pyra-

one

point

which

the

of

apex

always

in

meet

edges.Regardle-

'tsize't

sides

the

the

edges.The

of

its

sum

are

the

number,all

is

sides

their

of

ss

pyramid

mid

~

remains

the

.

?"

THE

END

,b"..

OF

same. IS THAT POINT THE BEGINNING OR THE

,..

PYRAMID

PUAOID4

::j,

ou.oj. :;, iod"j ""i ~:ij., ,,'oJ. j..'i'i,.. to

t"'o

.".t.. l1i ,"""0"

tdea

preparation

guided

making

of

me through the

film

med material,using,say,cutting procedures

of

creative

as

one

of

not to say that used at all.

basic

the

editing

?tt

elements

table

possibi-

the

minipict-

to

per-

the

advance,as

frame.

the of

by

composition

content

picture

the

the

reduced

visual the

determined

because

the

of

in position

determined

within

elements.

point

As you can see,this

was

and editithe

table in the reawas similar to the instance,the size

these

spective

central

was the

lens

the

also

was

of

The use of the editing lization of this film use of the camera.For

of

no subseof furtthe fil-

cinematography.

This is was not

lity

FILM

THE

IDEA

That means transferring it with quent intervention in the sence her elaboration or treatment of ng

the

was

"HOW CAN I TRANSFER THE ELABORATED

FULLY

following:

PURE,

the

wich

and

ONTO

4, The basic

mum,

:

.. li

ure

,. " ,. "

RoJ

28 29


3

7. This

upted

used

was

camera

the

film

will

lens.

car,

take.

(infinity)

model

"Warszawa"

,which uninterr-

the

lines

a

be in

perspective

make

the

to

of

ourselves in front of a cameat eye lence,the intersection

continuous,

If we place ra which is

was

G

~. Similary,the height of the camera was determined by the average height of the human figu.re.


4

8.

9. The ugh

speed space

of the

of motion and

film

time

was also

of the vehicle during

the

thro-

shooting

determined

in

adva-

nce.

10. The laboratory film

le is

produced

frame is one single

processing a

film

in

missing. Thus, uninterrupted

of the which

the

not

whole shot.

original a

sing-

film


5-

Szpakowski

was born

graduated

from

by the

in

Guard

Civil

he was 1952.he

Road and Air

the

Bydgo-

in

in

and

Office the

in

the

in

in worked

docks

he

the

Telegraph

1939. From 1939 to 1943 inspector in Otwock. In

loyed

WarDepa-

of the Technical 1912. Between 1912 in the design

Telegraph

and

active

and

Post

was

He

Post

of

szcz.

Main

Ministry

1933

of and

1923

building Between

and

rtment of Architecture University in Riga in and 1916 he participated

in

the

Arkhangelsk.

He

1883.

in

saw

-1~,Wac,iaw Karol

a building was emp-

Transport

Admi-

nistration.

waciaw

Karol

Szpakowski

died

These and many other from

the

rytmi-

member

first am

todz I

in

his

his years the

Museum to

of,

artistic

as

a

exhibited

never alone

Szpako~ski

works.

not

with,any

Art

works not

on

"Linie

1978,five

in

he

And

the his

present

death,that

certainly

was

he associate only

was

It

group.

did

extraordinary.

at

Lines) by Janusz Zagin the magazine "Projekt"

Szpakowski

nor

data

article

them

czne" (Rhythmical rodzki,published No.2,1979.

~2(Wactaw

1973

after

taken

in

are

in

90.

public.

age

regarding

the


6

thoughts

on questions

art.

his

and

contain

science

of

period

he was seventeen, he started drawings. His notes from that

~

~.". In 1900,when doing these

~7. His specific approach in this "Self-portrait"

is

for

OF WORLD.

QUALITIES INANIMATE

ESSENTIAL

AS

AND

ANIMATE

THE

SZPAKOWSKI

~4-, SYMl't'IETRYAND RHYTHM WERE REGARDED BY

is

well-illustrated from

1902.

me so characteristic

about

What

this

photo-self-portrait? Like

other

artists,Szpakowski

used

mirror for his self-portrait. the photographic camera,as system, to see himself, not indirectly.

So,

he "look

us

through

the

in

But he used an optical directly but

as

viewers

of

the

eyes",

but

camera

a

this

photo,

he does

this

lens.

IMAGES

?'!

MIRROR

ARTISTS

Has it ever occured to you that practically all self-portraits by painters in the history of art are in fact


7

through camera

is

in

the

by chance lifted mirror,that

now

of

look

a

recorder

Take

~6.

mere

time,developed

eyes,say,to-

just

have been a

situation.

one

might

photographic Se-"'f-portrai

are placed

mirrors

Two

the

Szpa-

'thimself",the

then

what

experimental the "Multiple 1912.

his is,

would

and

of

the

photo-camera

weight Had

in

ward

~7.

equal

self-portrait.

he,

kowski

given

photo-

course

graphic importance

the camera,the

the

looking

how

By

call

his

procedure,as in t" made around

at

the angle

of 72

as

I

the

Z

the

fithe

"in

central

figures

double

reflections

of

figure. that

he

will

he looks at However,if the

call

camera.

real

reflection,

double

his

knows

to eye" if reflection.

VIEWS",

of the

are

it,"

IS

see

himself

himself in the he looks at

CLOSED".

OF

real,central

"eye first

figures

"TRIANGULAR

are

Szpakowski

side

two

the

background"

the

right

reflections

gure,while

first

and

the

is,toward

left

other

The

viewer,that

the

degrees against each other. In that angle the author inserted a triangular plate as a visual element of the table. Then he placed himself with his back turned toward


8

~g.But

Szpakowski

adjusted

he did

not

double

reflection

hind"

look

him.

at

his

himself,but of

This

view

the

photographic to the

seeing

the

at

that

the

camera

lens

again

gives

procedure

to the indirectly

so

"beweight

camera and through it, viewer of the photo,who,

figure

"eye

mes a participant

in

to

the

eye",

thus

content

beco-

of this

AQ

work.

It is interesting ral years after his and

to note that only seveSzpakowski had produced

work, Francis Picabia,Marcel Stanistaw Witkiewicz employed

Duchamp the same

principle.

produced

Duchamp

his

work

in

1917. here,

work

at

is

principle

same

the

Though

zr;

Idarcel

there is a slight difference in the result. While Szpakowski "looks" into the lens of the camera,or rather at the viewer of the photo

"behind"

his

look

looking

into

the illusory "captured" re~Alar

the

the cor ner

looks in their

penta~onal

Marcel

toward

Duchamp

corner

of the t he figures

'2A

By

directed mirror.

himself,

of ref 'lections form

of the

mirror, are

within

the


- 9As we can see in looks

and

the

before,

this

"IS

it

is

important

before

as

I

said,

to

in

our

their

mention

that

method was known mentioned

artistic

artists work.

"l~

it

reflection,

VIEWS"

photo~raphic

time

applied

double

work

CLOSED".

unusual

long

his

"TRIANGLE

However, a

at

Witkiewicz's

OF

figure

the

H.L.

Bostwick: Fi

It it

"Multiphotograph

tzgerald",

around

of 1896.

is supposed that Szpakowski by chance but as a result

plations

on

qualities

"symmetry

Gissy

and

of the animate

did not use of his contem-

rhythm as the basic and inanimate world",

which was later directly his entire creative work.

reflected

The

drawings

also

on

?i':I

successive

Wactaw

series

Szpakowski

of

were

produced

b~!

lLt

solely

AN

NOR

SOfdETHING

THAT

IN FACT, HAS

NEITHER

~

IS,

DRAWING

EACH

A

using the orthogonal procedure, with base represended by an uninterrupted

A

3EGlV1ENT

a line. OF

BEGINNING

END.

'zsIt is important to note that Szpakowski turns his attention not only to the forms wich he obtains with the corpus of the directed line, but also to the

space betveen

the

call

space.

negative

lines,

which

we might


A;

'PA-~W<;~'

'2..

<;

t..Aw

~~ifvAllt'2;N"E'

-~~1»)

,.,'",,--t1.-L IN L,O<-"L'\'

~117-~

r"l'~ t... /)

rs&

-19'3

~~

~ ~'~

~

~

/1"""~ ~fM

JA"\I\.Q-1

~"'~d'

19,<1& r;--f-

cJlI\...

.

~'~

CArY"?'"e~.dJld fo tJ:t

~w

..llA

t1'1.11..~

~A...:1" 1W0 -r:~ f4..

;IM..L~ 1\'1 ~~'~ .

f'Y~

~

~ ~

91M

'FJ'~

~

T14A'~ ~

I c

I

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7k I>-f

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.(? ~'

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L1NIE

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bOWN

LF'FT-'T2o1'Gl-tr;

LrP-~OW'A1

-Vr", 12,{' HT-L-EFr,

D.. seria D. ok. 1925. tusz kalka. kat. III. 28

.,~

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etY"..

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'{)1..v1~ ~.,(

]

:I


10

~b,Though the content is abstract,the illusion of three-dimensionality is unmistikable.

-

of

RIGHT,

- LEFT.

Film:

"Szpakowski

wich

can

istic

of

of

UP

-

mutually

rt

and

unfold

again opposite

Greek

loop,with

DOWN

point

brooch course

its

return

to

direction,

on

this

8 two

-

UP,

5 min.

flowing

the

point

line,

character-

from

the

becomes

separated If,for

any

one

gave four

indefinitely,is

this

line.

(1984)

uninterrupted

connected.

from

the

movement;

Lines"

an

of

super

line DOWN

century B.C.. The twofold spiral

endless

that to

means

of

16 mm,silent,color,

base

frames in of the

camera positions

RIGHT

'i.1The

basis

on

position

directions

LEFT

this

of the lengths

This

the

Four different basic

from

corresponded

film

drawing.

the

the

in

in

of

film

example,a literally

way

By made

was

film frames

milimeter

the

came

detail. The lengths film were double the

lines

this the

for

- 1984"

1972

draving.

"PiRaMtdas

idea

the

specific

an

first

of

The

10th an

'centers

example,we

sta-

brooch,we

but

will

from

the


11

this The

linear

has flow

four

first

see,

fields.

the

it,and

the

can

distinct forms

part,completes

is

we

movement As

flow

labyrinth

right

of

labyrinth.

the

of

form

uninterrupted

basic

The

"lower"

goes

on into

the "upper" right part. Form the "upper" right part, it proceeds to the "upper" left, then enters the "lower" left part,and

entered

'){;f

the

from first

it

center

which

the

from

it,reaches

direction

formed same

the

having

labyrinth.

'fhe essence of the labyrinth does not change with the different development of the uninterrupted

the its

center, form.

spatial

the

flow

only

thing

at

the

toward

changes

on the floor

This labyrinth,found nave church

of

that

Chartres,is

very

is

of the similar

to

the previous one. It also has four spatial fields,and the entry into the center is from the same direction as the entry into

the

labyrinth,but

com~letely

?O.This most Szuakowski

the

linear

flow

develops

differently.

connection apparent

with in the

uroduced

the labyrinth spiral studies between

1939

form is which and

1943.


12


- 13??

derived

were whose

from

movement

this

toward

spiral the

shape, center

ds in a regu.lar,roundabout ugh

four

procee-

way,also

thro-

quadrants.

OF THE DIRECTION OF THE MOVEMENT IN SPACE,IT ALVIAYS MOVES FORWARD IN REGARDLESS

TIME.

3b. This is confirmed by the so-called "INTESTINAL PALACE" in Mesopotamia ancient

times,which,as

"symbolized

and

3th

millenium

the

and

the

from

Jill

in

connection

labyrinths.

With

its

forms,it could, like the stone., have represented a

SPHERE

of

and

OF WHOLENESS, the

renewed

relation

object

birth."

of the

double

spiral

~

"The mutual

at

"STRANGE ,

this

BETH-HEL"

II

name

th

of

been discovered

FOURFOLD

dying

it,

universe

sacrifice".

also

tombs

strange spiral philo8opher's

,8

the

the

B.C.,which,continues

Purce,"has with

Purce

reflected

true

BALL",

wi

TONE

S

of

is

moment

same

The

the

Jill

in puts

shown on this ancient Chinese paMing"according to Carl Sagan - "symbolizes the interaction of the opposites, from which creation results."

I would like to note,by the way,that one spiral form,with its contour,is "illogically" positioned in this painting. IS THAT MISTAKE ?


14 -

?l}

The

four

which

elements

carry

organized

the

of

deoxyribonucleic

genetic

code;

structure,

thymine

adenine,

and cytosine

chains

which

mutually

build

acid

with

their

guanine,

two spiral

coil

aroun

one

co-

.mmon axis.

II

Sfa:i;ra.

1986

35 mm,silent,black

~ Sf~j"~A;

~qgS-lIt9t:;1I

-

1895 and

Film:

white,lO

min.


i~

" PiRaMidas

- .'f~'llt

41tl

0

2 I

2 I

333333 I I I 5

9

2 [ I 4 I

I 4 I

4 I

5

5

5

4 I

4 I

4 I

4 I

I 4 I

5

5

5

5

5

.

5

s"""""'~""'~"~1

6 I

I 6 I

I 6 I

I 6 I

I 6 I

I 6 I

I 6 I

I 6 I

I 6 I

I 6 I

I 6 I

6 I

7

7

7 7 I

.I

7

7

7

7

?

7

7

7

7

7

8 i 9

8 I 9

8 I 9

8 I 9

8 I 9

8 I 9

8 I 9

8 I 9

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I

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I

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I

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I

8 I 9

9

t t ! ! t t ! t t 45t 44t 42! 39! 35t 30! 24t 17! 9i it! ! ! t! !! 9t 8t 6! 3t '8! 3t 6t 8tt 9 9 8 6 3 8 3 6 8 9 9 17 24 30 35 39 4? 44 45

"'~~~~~;~// "::::.::~~~f~:::::/ JUPITER

f

SJtEDINJENJE

HENTI

VELIKO

t OZIRIS

~--~

(5 X 12) ~;.;

120

SATURN

(2 X 30)

~.--~

~

I

~~--.

0

60

~~~--"'"

6

3

t GILGAMES


- 15

my

you

to

present

like

would

I

Now,

40

SECONDPART

CENTERS.

into

through perspe-

the

the

pass

through

passes

One

separate

which painting

TWO

STILL

lines

centres

two

perpendicular parts.

two

the

44The

ARE

THERE

little study of the painting "The Last Supper" by Leonardo da Vinci (1452-1519), painted on the refectory wall of Santa Maria delle Grazie in Milan between 1495 and 1497. I felt confused looking at this painting, because,for quite a long time, I had a feeling that there is something "wrong" with it. So, what is the matter? Although at first sight" comlete" Symmetry of the scene is suggested,

ral figure perspective arrangement tral figure it separate

figure. the

"moved"

cent-

the

of

EYE

same

question:

the

fundamental have

ask

RIGHT Leonardo

can

the we

now should

why

And

through

ctive point,or the intersection of the painting and the space "behind" the head of the central figure; the second passes

outside the vertical axis of the point,and,independently of the of the scene,painted the cenalmost in symmetry,but givin position?


16

4t If we concentrate a little while looking into the right eye and through it at the it

axis

4) Thus, the

the

central from

vertex

on the

top

we

"s~ondtt syRmtric

the

poa 60 that

of

conclude

can

of

one

exactly

center

equilateral

at

itself.

If

eye.

figure an

the

we

of

drawn

be

feel

almost

figure

right

to

angle,

axis

degree

symmetry the

placed

of the

already mentioned axis confirms the

symmetry sition

is

shall

this

that

the

then

in

the

point

as a whole,we

take

painting

painting

is

triangle

with

of the

head.

4~The detail which contains a painting within the doorframe in the middle,into which the head is composed,tells us;

(1)

that

center,and accidental.

there

really

2) that

is

this

a shift

is

of

the

by no means


17

47The

distance

between

the

perspective

point,as the FIRST center,and the right ,eye,as the SECOND center, is equal to the distance between the eyes of the central figure. The perspective point lies on one of the sides of the equilateral triangle,a little above the horizontal line which passes through the eye. Thus,we can conclude that

the painting does not only have two VERTICAL. but also two HORIZONTAL axes. line

v/hich

passes

through

thus divides

the

door-

the

of

center

we

and

parts,passes,as the

two through

into

point

frame.

see,also

painting

the perspective

can

The perpendicular

square.

axis a

form

that

means

This

horizontal

doorframe

the

and the

with

vertical

together

the

PRINCIPLE.

SECTION

GOLDEN

The shift of the axis of the central figure in relation to the center of the painting is made according to the

PARTS.

UNEQUAL

TWO

into

frame

the

divides

The right eye,as the second center,lies on one of the vertices of the square, diagonally opposite to the upper left corner of the door. The lowering of the diagonal of one half of the square to the base,gives the width of the door in the middle. So, the vertical line through the eye

from

CalCl.llated

was

(A)

door

part

the

of

smaller

width

the eql.lation:

/fC?

The

stands in relation to the bigger part (B),as the bigger part (B) to the whole (A + B),which means that

1 the

+V5: value

2

= 1.618... called

the

GOLDEN

NUMBER

Phi

(~).


date

a door.

already

was

accommo-

to

painting broken

the was

when wall

that

the

know finished,

We

18 -

The door was later

walled

up,

but its contour is still visible and it enables us to get a very important piece of information concer!ning the painting. It is logical to suppose that the position of the door was not chosen according to the

axis POINT,

into

two

point,toget-

the wall

THE

cenOF

the

FIGURE.

PASS

be logical

CENTER

IN

not

space is "DISLODGED" of the wall surface, by THE DISTANCE

shown,

alredy

is

is,the

placed

CENTRAL

it THE

divides perspective

The

PARTS.

axis

the painted real center

have

we

as

that would

Leonardo

OF

EYE

EXACTLY

figure

that

RIGHT

means EQUALS

WALL,and its

least,

does

painting,as that

the

expect,but

of

her with from the

surface be

to me, at

symmetry

PERSPECTIVE

THROUGH tral

This

THE

to

center

"center",

THROUGH

surprising

door

and its the whole door can the wall.

DOES

is

4g"!lhat that

to the of

PASS

painting

NOT

of the

THE

contents

but rather according of the wall,so that placed in the middle

has

also

1984"

1912

"PiRaM!das

film

rrhe

-

CENTERS.

TWO COMPLETELYDISTINCT AND DIFFERENT

One

center

illusory around

is

the

axis of which the

spatially

conceived

the perspective illusory spiral

place. CENTER

takes THE

4q

BETVvEEN THE EYES.

IS LINKED WITH SPACE.

point, rotation


19

the film

of

726lst

the middle in

found

is

is

the

center

second

film,which

tfjO,The

frame.

THE CENTER IS LINKED WITH TIME

months

has TWELVE months.

are

arranged

THREE. This

in

kind

of

FOUR

of the

and

the

of

gives

the

TWELVE arbitrary, shifted

relation

the not

Earth's

mutual the

by

Sun's

is

One

determined

is

but TWO

CENTERS.

axis

groups

grouping

SEASONS. The arrangement of months into FOUR, SEASONS is

rotation

The TWELVE

of

~1 ONE year

other

is

the

plane

ecliptic.

;2,The shift of the Earth's rotation axis in relation to the plane of the ecliptic causes the change of the seasons durint/the Earth's

journey

around

the

Sun.

The points in which the plane of the ecliptic and the plane of the equator intersect during the orbit of the Earth around During

year tion night,

the

the the

Sun/are called equinox,which

the EQUINOXES. occurs twice a

(in autumn and in spring),the of the day EQUALS the duration because

equator.

the

Sun

lies

exactly

duraof the above


20

- 1984" was SPRING EQUINOX,on March 20,

"PiRaMidas

as

the

it

11:34

says and

transition

,If,on

the

from

basis

in

spring.

said

has

here,

arrangement

of

of the seasons, that it is not

such

the

painting

itself

some

to

suppovt

with

central

figure

groups

for

HIS

tradition, "PLAY"

we

be

as

could

IN

TO

Christian WAS

the

from

groups

times reasons

scene V{HICH,

the

away

TWO

TWO

of

table.

the "ROLE"

of

of AND

GOD,

of

into

figure

painting

farther

the TWO One

and LIFE

THE

texts OF

in

the

precisely,this CENTER

More the

around

in

LIFE.

divides

arrangement

SON

CHRIST,

reed

an IN

FOUND

such

figure.

closer

fi~res

stands CENTRAL

placed

of

axis

parts.

vertical

two

its

noted,the

hypothesis? already

As

at

by mere chance, can we find

evidence

this

to

group

the

in

the

Vinci

da

the

figures

is

fil~,

everything

with the arrangement ~4because it is obvious

as it

the

A.M.,exactly

winter

of

we assume that Leonardo

on

11:39

by

April

between

connection

not

Supper"

made on the

1912

symbolic

film

"Last

~The


ffIf,

according

V1INTER

is

linked

fact

mine

is

still

not

specifically

the

the

seasons,because

groups

tradition,

linked with His BIRTH and SPRING with His DEATHand RESURRECTION,

is

this

to the Christian

could

sufficient

to

symbolic

both

symbolize

deter-

links

of the

either

with

closer

WINTER

or

...

wich

ELS

line

the

index

the

of

TIP

the

figure

the

HAND.

the

of

through

the

tip

hand is

pointing

of

the

vertical the

tip

index

lines

two

horizontal

is these

of

of

central

we,then,draw

between eve

the

and

connection

TIP

!

the

AXIS

OPEN

pass

the

between

INTERSECTION

finger The

the

of

If

the

palm of the

the

in

of

THE hand of

will

and the

the line.

side.

AXIS

the

of

finger

eye

through

FINGER,it MIDDLE

INDEX

left

connection

line,while

finger.

horizontal

SOMETHING

the

line

?6Thus,the

of

ALSO

touch

on

a vertical

lies

right

right

will of

closest

the

the

it

figure,

through

FINGER

passes

the

IS extend

we

If

BUT,

THERE

SPRING.


along

drawing

the

the

table

hand,together

from

edge to the with

the

linear

relation

the

finger

and the

with

the

the

further,

line

oned

angle

and

a

table,and

a horizontal

alon&

eye

the

too,that,drawing between

line

interesting

is

It vertical

vessel

the

vessel

palm of the

previously between

palm,we

regular

mentithe

eye,

get a rect-

placement

of

the

FOUR

SYlVIBOLS:

the

EYE as the

the

VESSEL ae the

SPIRITUAL

SACRIFICE,

INDEX FINGER as the

are

higher

up,

HAND

THE

FINGER

are OF

the

and

RESURRECTION.

symbols are placed the vertical rectangle.

INDEX

the

and VESSEL

EYE the

The

the

noted,the vertices of

PALM

POINTING

~8As already in

SOURCE,

OF THE HANDas DEATHand

PALM

the

and

f~

22

down.

The diagonal of the half of the square wich was used to determine the height and position of the tip of the finger, equals

the

width

of

the

middle

wich means that these}elations derived from the golden number

doorframe, too,were Phi 1.618.~.


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- 23

this

~qIf

brief

as it

is

analysis

in

is

correct,

our opinion,then

establish

a

as one of of figures the figure

the FOUR seasons and the group closest on the left side to in the center. In this case

be represented

SPRING

and

WINTER,

and

SUlYnVIER.

WINTER

and

a

common

and

a

RECTANGULAR

have the SEVEN

(7:

a a

by

side,

on

the

Both and

svmbolic

with

closed

TRIANGULAR

base.

(3)

figures,TRIANGLE

number

one

cycle,and

new

a

produces

form,with

together

as a LINK on

a

following:

of FOUR triangles

v;~ex

PYRAMIDAL

SPRING;

OPENS

60 The combination

the

placed

closes it

side

symbolically

other

it

to

Supper" left

it,is

The CENTRAL FIGURE is between

to the central arrangement of

"Last

observes

group

cycle.

viewer

AUTUlVIN

the

in Vinci,from

da

seasons

the

SPRING

by the

right side,closesi Thus,the symbolic

Leonardo

the

on the figure.

between

right

WINTER will

link

as

symbolic

we can

scheme

geometric

RECTANGLE

value

(4)

of the


41

7927

7892

-

7927

1~2

1~1

-

7639

148

7640

-

7667

149

1~0

147

146

14~

144

143

139

140

21

7492

141

138

7414

-

136

7381

-

135

7366

-

11 7327 7317 7327 132

12 7339 7328 7339 133

B 13 7352 7340 - 7352 131

7316

-

127

7282

7289 128

7297 129

B 9 7306 7298 - 7306 126

7276

-

-

7265 7267 124

7271 7268 7271 12~

7262 7262 122

123

7264

-

117

72~4

118

7257

-

116 11~

7245

-

72~0

-

113

7232

-

111

7215

-

110

720~

-

719~

109

7194

-

7183

7194

107

7169

-

71~6

7169

106

71~~

-

7141

71~~

101

7070

-

70~1

7070

19 7089 7071 7089 102

C 18 7107 7090 7107 103

D 17 7124 7108 7124 104

7140

-

712~

7140

10~

100

70~0

-

7030

70~0

21

20

B

16

D

A

98

7007

-

698~

7007

23

B

97

6984

96

-

6960

-

6961

-

6936

6960

2~

D

6984

24

A

9~

693~

-

6910

693~

26

C

93

6882

-

68~~

6882

28

A

24

92

68~4

-

6826

68~4

29

D

91

682~

-

6796

682~

30

C

90

679~

-

676~

679~

31

B

89

6764

-

6733

6764

32

A

23

8~

6630

-

6~9~

6630

36

A

22

35 666~ 6631 666~ 86

C 34 6699 6666 6699 87

D 33 6732 6700 6732 88

6909 94

7029

7239 114

***********

7261 121

130

134

-

7397

137

-

7492

142

157

D

39

8041

8003

-

8041

160

C

40

8081

8042

-

8081

161

B

41

8122

8082 - 8122

162

A

*

1~3

7451

7471

7206

7224

1~4

7432

-

-

-

722~

7205

7182

1~5

-

7514

-

* ********** 7261 -

7537

-

7259

7240

-

7~61

-

-

7260 - 7260

7246

-

7~86

-

7258

7260 72~1

7216

7612

7255

721~

7224

7696

7267

4 7263

7232

-

1~6

7613

7667

-

7639

28

-

-

7290

7272

7245

1~

14

A

-

1~8

7790

7726

7283

7297 7277

72~9

1 72~0

12

B

C

7008

1~9

7822

-

7433

7472

77~7

7382

-

D

C 7307

2

D 72~4

11

A

7029

7789

73~3

72~7

7233

-

7367

3

C 7264

10

B

22

7822

7398

7289

8 7276

8

C

C

78~6

7415

74~1

74~2

7

C 7282

6

A

7170

-

7493

7316

~

C

7182

-

7891

-

7~1~

7366

C 4 3

D

25

6883

7964

7~38

7397

7~62

7381

2

A

B

26

6909

-

7587

27

C

7668

7414

7432

19

7471

~

D

7262

7697

7~14

D 6

A

******** 7261

7727

7~37

10

8

27

27

8002

7758

7~61

14

A

28

.

B

-

36 7239

7823

33

7~86

16

78~7

7612

1~

A

~**********~:***************************************************************** 31 B 1

7696

17

18

D

20

A

1 ** *******

7726

22

C

77~7

23

D

*********** \/RH PIRAf'1IDE

7789

24

B

A

7

78~6

2~

C

29

B

7928

C 9

7891

26

D

29

A

30

.

.

..

D

7964

B 13

796~

8002

39

B

30

D

36

31

C

34

B

33

A

.

B

..

32

A

t * :t:~:~:~:****~:*************

-

34

D

FILt1A

3~

C

.

.

.

D

37

A

~REDINA

38

D

.

8

.

A

.

32

.

3~

.

37

..

38

. . .

.

40

r .

1 B

99

108

112

119

120 *~:

'Pf . .,I

f\

84

6~94

-

6~~8

6~94

37

D


film

by

and positions

colors;

RED,

and

THREE

the

SECONDARY

The

THREE ORANGE.

part,

In are

colors.

YELLOW

and

second

PURPLE

marked

there

the

part colors; GREEN,

is

prismatic BLUE,

the

MAIN

first

+ 1) of

(6

SEVEN

in

- 1984"

1972

film

"PiRaMtdas

the

of

center

The

6~

24

the colors are determined their complementary relation. Thus,red in the first part of the film,stands opposite to green in the second part. Their complementartty is emphasized also by the relations

also

film

of

LIGHT lasts,

LIGHT

and

SILENCE

divides

TWO PARTS, and this the

of

LIGHT.

SILENCE.

into

CORE

IS

is 1972

the

THEM

"PiRaM1das

juncture

the

DIVIDES

as the white

is

The

IF ART HAS COMPREHENDED HARMONY, RHYTHM

AND

THEN IT ZERO."

BEAUTY,

HAS COMPREHENDED Kasimir

\.l~

,.

YELLOW

by

WHICH

film

As long

62

and

pictures.

CENTER

there

PURPLE,

to

corresponding

ORANGE.

opposite

the

to

BLUE

stands

of

of

f..f,

? &lerrlJJ

1~14'

Malevich,1923

-

1984...


26 -

Bibliography

(selected,

in

with

-

W.:

Theodor

Adorno,

Europaische

Arnheim,

Faber

Bacci,

Verlagsanstalt,Frankfurt

VISUAL

Rudolf:

and

Mina:

MUSIK

1984"

NEUEN

1912

film

DER

"PiRaMtdas

the

PHILOZOPHIE

connection

A M,1958

THINKING

Faber

Limited,London,1970

LEONARDO

Avewel

Books,New

Nikolaj:

NOVA

Berdjajev,

York,1978

RELIGIJSKA

SVEST

I

DRUSTVENA

REALNOST

OOUR

~ronowski,

publicisticka

Izdavacko

Jacob:

THE ASCENT OF MAN

BBC,Science

Chevalier,

Horizons,Inc.,London,1973

-

Jean

Gheerbrant,

Alain

DICTIONNAlRE Robert Doczi,

Gyorgy:

delatnost,Beograd,1982

Laffont THE

(editors):

DES SYMBOLES

S.A.,Paris,1982

POVER

OF

LIMITS

-

PROPORTIONAL

-

Verlag

DEN

IN LEBENS

MIT

GOETHE

1981 JAHREN

Beck,Munchen,1984

THE ENGLISH CABALAH

Ivan:

SAVREMENA

&;

Vross

1,De

Vo1umme

Eisen,Wi11iam:

Focht,

GESP~CHE LETZTEN

Peter:

SIENES

, Johann

~

Ecke rmann

Boulder,London

Samhala

HARMONIES IN NATURE,ART AND ARCHITECTURE

ESTETIKA

Nolit,Beograd

Co.,CA

1980

MUZIKE

1980

Fromm, Erich:

RABEN ODER SEIEN? Deutche Verlags - Anstalt,1976

Fung Yu - Lan:

A SHORT HISTORY OF CHINESE PHILOSOPHY

The

Hall,

Manly

MacMillan

P.:

York,1948

THE SECRET TEACHINGS OF ALL AGES

The

Philosophical

Los

Angeles,1977

He.Q:el. G.W.F. :

Company,New

VORLESUNGEN

PHILOSOPHIE, (Pitagora

Research

UBER

DIE

Society,Inc.

GESCHICHTE

Frommans

Verlag,

DER

Stuttgart,

1940\


27

Reline,

Corinne:

SACRED

De Vross Carl

Jung,

G.:

SCIENCE

& Co.,

OF

NUMBERS

CA 1981

MAN AND HIS SYMBOLS Books

Aldus

Limited,

Jung,

Carl

G.: GESAMMELTEWERKE Walter Verlag A G, Olten,

,

I

I

Gondolat,

Kern,

1971

FENY ES KAOSZ - A KOPT GNOSZTIKUS KODEXEK

I,

I

Laszlo:

G,

PSYCHOLOGIE UND ALCHEMIE Olten, 1972 A

G.:

Verlag

Carl

Walter

Jung,

Kakosy,

1964

London,

Budapest,

1984

Hermann: LABYRINTHE Prestel - Verlag,

MUnchen,

1982

, Lionel,

Frederic:

L'ASTROLOGIESACREE

Editions

du Rocher,

Monaco,

Corvina

Mijuskovi6,

VINCI

DA

LEONARDO

Karoly:

Lyka,

I

1983

kiado,Budapest,

Slobodan

(editor):

KAZIMIR

-

1980 uBER

ALLES

ATLANTIS

- Wien,

GmbH DUsseldorf

Verlag

1976

"Mladost".

Jill:

Radovanovic,

and

Hudson,

Ljubinka:

"Vuk Misa

MEME

-

Beograd,

THE MYSTIC SPIRAL Thames

Savi6,

Zagreb,

TlMAIO NIRO

Force,

LUI

zavod Matice Hrvatske,

Izdavacki

Platon:

Paris, SVJETLOSTI

Mladen:

Pejakovi6,

Seuil, IZ

du BROJ

Editions

PAR

JOYCE

JAMES

Jean:

Paris,

I

Econ

MALJEVIC

BESPREDMETNOST)

Beograd,

radionica, Heinrich:

Otto

Muck,

SiC

(SUPREMATIZAM

Karadzic",

- Fi1ipovic, SiC, Beograd,

1981

- JOURNEY OF THE SOUL London,

1974

VELIKA

JEDNACINA-MIT

STAROG

EGIPTA

Beograd,

Filip 1981

I

SIMBOLIKA

1973

(editors):

JOHN

CAGE

1978


-

Caracteres,Paris

-

Suzuki,D.T.

Fromm,

Sibila,

&

SECRETS

Harper Robert

SYMBOLIK

PSYCHOANALYSIS

R.S.,Zagreb,1979

OF

THE

Colophon

K.G.:

THE

Sidgwick

Uspenskii,Boris

&

York,1960

naklada

Peter:

BUDDHISM

LAO TSE - TAO TE CHING

Vlastita

Temple,

ZEN

Row,New

Rade (editor):

Tompkins,

L'HOMME

1957

Erich:

Harper

DE

TEMPLE

R.A.:

Verlag,Zurich,

Lubicz

de

Schwaller

Rhein

UND

ZUR KABBALA

Gershom:

LE

S cholern,

IHRER

28

&

A.:

GREAT

PYRAMID

Books,New SIRIUS

York,197l

MYSTERY

Jackson,London,1976

0 SEMIOTIKE

IKONI

V Tartu,197l A.W.:

THE WAY OF ZEN Books,

-

BIBLIJA

CHANGES

OF

BOOK

Paul,London,

ZAVJET

Kegan

NOVI

:

&

I

Routledge

OR

I

(translation):

Richard

press,1952

University

CHING

Princeton

:

LEKSIKON

IKONOGRAFIJE

SI~mOLIKE

:

I

KRSCANSTVA

u Zagrebu,Zagreb,1979

LINIE

Kata1og

We

LITURGIKE

ZAPADNOG

Sveuciliste

-

Bu

Lu

DES

Verlag,DUsseldorf-Koln,1971

v

-

Diederich

..

Eugen

HERBST

:

UND

-

FRUHLING

Stvarnost,Zagreb,1968

RYTMICZNE, Muzeum

WACtAW

Sztuki

w

SZPAKOWSKI

todzi

nr

71/78

: IVAN LADISLAV GALETA

-

Wilhelm,

Inc.,1957

SYMMETRY

Weyl,

Hermann:

Pantheon

STARI

Watts,

Kata1og

Ga1erije

suvremene

umjetnosti,Zagreb,

1979

-

:

LINIE

"Projekt"

RYTMICZNE

2'79

/

129,

-

Janusz

Warszawa,

Zagrod~k.i str.51-55

1883-1973


(1973

(1963~

CANAL INCIDENT EMAK BAKIA (1927)

I AM GOING (lq71) ~

-

(l977~

(1968,

(1968)

POSTLUDIJ

(1967)

FOKUS

(1962)

RONDO

(1961-1962)

SPLITU

0

MONOLOG

(1924)

MECANIQUE

BALLET

(1973-1975)

BIRTHDAY

MONKEY'S

(1963)?

AUTOMATOFONI

(1961-1966,

UNSEREAFRlKAREISE

(1958-1960)

RAINER

ARNULF

(1958)

SCHWECHATER

(1957~

ADEBAR

(1970-1972~

DUST

(1973,

with

I

SRETANJE (1963) JEDNA RUKA TRIDESET

(1974) ~---

(1982)

SOLSTICIJ

UBRZANJE

WHITE

Jeff:

Keen,

SECONDS

wit;h

FILr~KE --

(1975)

LENGESEK

MOST

Peter:

Kubelka,

1 TO 60

..-

~

(1980)

I

LJETNI

David:

Tomislav:

Kobia,

(1968)

(1960)

FILMOVI (1962

(1960)

VERTICAL

(l981~

I

"

I

Larcher,

ROHFILM

(1963)

(1980)

(1981~

HORIZONTAL

LINES

Fernand:

Leger,

Birgit:

SMRTI

I

BELOG

I

(1949)

ELEPHANT

PAS DE DEUX (1967)

OBLAKA

FILM

BEZ

FOR

MATERIJI

Ljubljana:

NEBO

0

68

(1976)

(1928)

Petek. , Vladimir: (1963)

A MOVIE'

INCIDENCE

CRVENOG

231

LINES

IDOlV1ERES

RELATIV

Ivan:

Martinac,

EMILY

LINE

Man: ZEN

CISTO

June:

3,

Nam

TRIPTIH

OM produkcija,

-

K

Ivan:

SIGNORINA

DVORISTE

Obrenov,

(1964)

SCUBA

TRIOLAK

Dora:

Maurer,

Malcolm:

(1973)

ZAHOD

IZMEDJU

Jacques:

Norman:

McLaren,

Takahiko:

OF

2'45"

PACIFIC

Mielleurat,

LeGrice,

VERTICAL

THE

Raban.

and

ON

ANGLES

Zivojin:

Jean:

Mitry,

David:

Wilhelm

VORMITTAGSPUK

Ray, Mihovil:

Pavlovic,

Paik,

William:

,

Pansini,

Iimura,

Hans:

Richter,

Hall,

Hein,

Joszef:

Robakowski,

30 (1968~

24 FRAMES PER SECOND (1975)

THIRD PARTY SPECULATION (1979

USKA VRATA (1968-1974~

E.Lambert

C.Ferdrin

( 1980;)

IZVEDBE

(1964)

MACEVA (1966:


31 Vinko:

TORZO

~1965)

ODMEV

Walter:

IN

SYMPHONYOF A GREAT CITY (1927) DER

(1969)

(1929)

T-O-U-C-H-I-N-G

WELT

~lq76

(1974) SERIES

ACADEMY FILM

ABSTRACTIONS

WEVELENGHT

(1967)

I

Szava,

Gyu1a: ESET (1981.

Tim~r,

Peter:

Vertov,

Verzotti,

Dziga:

Ante:

CELOVEK

DALJINA

Sava:

LJUBICASTIH

surdMA (1982 ~ RUKE

Trifkovi6,

-

HAJNAL

1973

Andr~s:

S

KINOAPARATOM

TWIST-TWIST OBJEKTIV

Ryszard:

30

We1sby,

Chris:

SEVEN

Whitney,

James:

(1966)

SOUND

(1974)

(1950-1957)

LAPIS

t \,

(1967 SITUATIONS

DAYS

YANTRA

J

(1929)

(1962)

FLURESCENCIJE Wasko,

~1963)

Michael:

EARLY

(1974)

1980)

Snow.

FRAMES

.

Harry:

SOUND

THE

AT SHORT

Guy:

;

Smith,

Szirtes,

(1965)

(1919)

MELODIE

COLOR

Sherwin.

ODZIV

OPUS I

BERLIN, Paul:

Sharits,

Ruttmann,

(1969)

Rozman,

(1963-1966)

(1973

PiRaMidas 1972 - 1984  

Introduction in the film

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