The crew of the U. Kes is holding the camera.
GULF In their underground classroom Gail had available several types of apparatus to record and manipulate light and sound. She commenced throwing groups of figures on a screen, in flashes.
Why did you get only the left hand side of the group?
Un- convinced that the drill was useful, he relaxed and played along. Soon he was beginning to grasp a nine-digit array as a single gestalt; Gail reduced the flash time.
Samuel Renshaw at the Ohio State University was proving that most people are about one-fifth efficient in using their capacities to see, hear, taste, feel and remember. His research was swallowed in the morass of communist pseudoscience that obtained after World War III, but, after his death, his findings were preserved underground… …Speedtalk was a structurally different speech from any the race had ever used.
The Spiders Part II: The Diamond Ship The Spiders Part II: The Diamond Ship () is a much less successful film than Part I. Its storytelling is flat, and it is full of Chinatown melodrama and racistly stereotyped villains. Last week we explored our ultimate science fiction reading list through the eyes of some of my favorite science fiction authors and editors. This week I am going to turn the mirror on them and let them tell you about some of their greatest works. The most conspicuous Minimalist esthetic in Star Trek is the color and use of colored light. But something more subtle is almost as important, and that is the sound. Star Trek has a noticeable style not just in the visual appearance but in the auditory appearance, as well — the sound of it. On one hand, there is a sort of Wagnerian musical scoring — sometimes appropriate, sometimes sonic.
Long before, Ogden and Richards had shown that eight hundred and fifty words were sufficient vocabulary to express anything that could be expressed by "normal" human vocabularies, with the aid of a handful of special words — a hundred odd — for each special field, such as horse racing or ballistics.
About the same time phoneticians had analyzed all human tongues into about a hundred-odd sounds, represented by the letters of a general phonetic alphabet.
On these two propositions Speedtalk was based. To be sure, the phonetic alphabet was much less in number than the words in Basic English.
But the letters representing sound in the phonetic alphabet were each capable of variation several different ways — length, stress, pitch, rising, falling. The more trained an ear was the larger the number of possible variations; there was no limit to variations, but, without much refinement of accepted phonetic practice, it was possible to establish a one-to-one relationship with Basic English so that one phonetic symbol was equivalent to an entire word in a "normal" language, one Speedtalk word was equal to an entire sentence.
The language consequently was learned by letter units rather than by word units — but each word was spoken and listened to as a single structured gestalt. But Speedtalk was not "shorthand" Basic English.
One can think logically in English only by extreme effort so bad it is as a mental tool. For example, the verb "to be" in English has twenty-one distinct meanings, every single one of which is false-to-fact. A symbolic structure, invented instead of accepted without question, can be made similar in structure to the real world to which it refers.
The structure of Speedtalk did not contain the hidden errors of English; it was structured as much like the real world as the New Men could make it. For example, it did not contain the unreal distinction between nouns and verbs found in most other languages.
The world — the continuum known to science and including all human activity — does not contain "noun things" and "verb things"; it contains space-time events and relationships between them.
The advantage for achieving truth, or something more nearly like truth, was similar to the advantage of keeping account books in Arabic numerals rather than Roman. Compare the pellucid Boolean logic with the obscurities of the Aristotelian logic it supplanted. Paradoxes are verbal, do not exist in the real world — and Speedtalk did not have such built into it.
Who shaves the Spanish Barber? In the syntax of Speedtalk the paradox of the Spanish Barber could not even be expressed, save as a self-evident error… ed note: Does the barber shave himself? For technical words Speedtalk employed an open expansion of sixty of the thousand-odd phonetic letters.
They were the letters ordinarily used as numerals; by preceding a number with a letter used for no other purpose, the symbol was designated as having a word value. New Men numbered to the base sixty-three times four times five, a convenient, easily factored system, most economical, i.
By using these figures, each prefaced by the indicator — a voiceless Welsh or Burmese "I" — a pool ofwords one less than the cube of sixty were available for specialized meaning without using more than four letters including the indicator.
Most of them could be pronounced as one syllable. These had not the stark simplicity of basic Speedtalk; nevertheless words such as "ichthyophagous" and "constitutionality" were thus compressed to monosyllables.
Such shortcuts can best be appreciated by anyone who has heard a long speech in Cantonese translated into a short speech in English. Yet English is not the most terse of "normal" languages — and expanded Speedtalk is many times more economical than the briefest of "normal" tongues.
By adding one more letter sixty to the fourth power just short of thirteen million words could be added if needed — and most of them could still be pronounced as one syllable… The ability to learn Speedtalk at all is proof of supernormal intelligence; the use of it by such intelligence renders that mind efficient.
Even before World War II Alfred Korzybski had shown that human thought was performed, when done efficiently, only in symbols; the notion of "pure" thought, free of abstracted speech symbols, was merely fantasy.
The brain was so constructed as to work without symbols only on the animal level; to speak of "reasoning" without symbols was to speak nonsense.Science fiction news with a science review plus forthcoming UK Science Fact and Science Fiction book releases for the Spring , also Eurocon / Worldcon fandom, SF author & book trade news.
CHRONOLOGICAL TELEVISION There are television shows' hotlinks here, limited to shows broadcast in the United States (wherever originated), and shows listed with no hotlinks currently known to this compiler for a total of television shows and/or hotlinks. Star Trek and the Musical Depiction of the Alien Other Tim Summers Music, Sound, and the Moving Image, Volume 7, Issue 1, Spring , pp.
To explore music in the Star Trek universe, two aspects will be investigated. First, to illustrate the varied, multifaceted, multi-authored in science fiction screen.
Three important elements of science fiction are speculation about humanity's future, the impacts of science and technology on people, and settings in an alternate time and place.
The most conspicuous Minimalist esthetic in Star Trek is the color and use of colored light. But something more subtle is almost as important, and that is the sound. Star Trek has a noticeable style not just in the visual appearance but in the auditory appearance, as well — the sound of it.
On one hand, there is a sort of Wagnerian musical scoring — sometimes appropriate, sometimes sonic.
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|Music, Sound, and the Moving Image||Appearances[ edit ] Star Trek: Voyager[ edit ] The Kazon appear as the principal antagonists for Star Trek:|
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Science fiction film (or sci-fi film) is a genre that uses speculative, fictional science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial lifeforms, alien worlds, extrasensory perception and time travel, along with futuristic elements such as spacecraft, robots, cyborgs, interstellar travel or other technologies.