Learning how to do CGI in the 2000s was a learning-lesson in how to under-whelm the entire previous generation of special-effects people.xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

And if you think it is a LIE that the greatest CGI accomplishment in CINEMATIC HISTORY is Star Trek: THE MOTION PICTURE(1979), then you haven't really watched that film because if JJ. Abrams(and he does believe this) thinks the pathetic 'fly-over' in this film(and he ensured it rates as a 'film' by making-it-simple as it gets and figuring-out that the modus of the population is actually not too-far-off-what-he imagines it to be in this film*)RATEs as a competitor?IT ISN'T even in the same vicinity of what they managed to accomplish in the fly-over actually of the previous version of this film in 1979: there is no way to describe the ABSOLUTE MASTERPIECE OF THE FLY-OVER, there's nothing like it in SCIENCE-FICTION barNON E(and reason the 'E' there is distinctualized is because it needs a moment's pause before registering the 'none' of the NON E) which makes the simplest statement in cinematic-history rate as something simply extra-ordinary(if you can register"that 'none' into the eternal domaine). And while that may seem academic to most people it matter's where these thoughts get inscribed because if the only place they get inscripted is into the OPINION dimension of thoughtlessness(and YOU, dear READER, need to comprehend these TWO areas*into which a thought(or a thoughtlessness)can be inscribed¹) then the end-result is a world of absolute rationalizationalism. And, if that doesn't scare you at the present moment it is either: (1) you are too young to have washed-out on the internet as a thing*that is worth a fucking shit; or, (2) are so old it matter's not what in the hell life actually is you gave up and will just need to see about it I'm sure there is something more than what this was billed-as but the truth is that there is NO FAITH dimension(that is what you moron's call this shit) to 'life'(and that is how you leave it when life itself means nothing but sex and inter-coursing with the swine of this planetoid)!....

So, lo and behold, would say Herzog('cause he has certainly come to terms with how mundane his thinking actually is at this point; at one time he really did believe his signature on cynicism was the end and all of it until he was described on this very website as a troglodite with no sense of his own limitational-nature on being quite pretentious on stupidity...), there is a 'domaine', 'out-there', 'on the horizon' in what phenomenological-LAND(cause that movement is dead as nails now, actually) would assess-to-BE an actu al it/EEE(and that long'e'sound means there is a furtherance on the nature of the sound of the 'BE' which is something other than a return to the mind of rationalization to compensate for the coincidence as explanation(i.e., a being-out-there that is further in spatialized sense?NO: that is the issue with you people, you don't take the spatial-dimension of thinking to BE ANYTHING any longer but just glance-over it and assume it is all productive of a cognitive-faculty of neurons that just leaves traces of its function in your mind like servitude-platter(which is a way of thinking your 'brain' serves you a recognizable trace of its function as if you got the full story on it in your bio-handout package from Monsantis, or whoever you DREAM will design your future DNA-registration systemalities....so fuckin' pathetic you losers are)/).

And this is where this essay will go epic-DELLeR(and THAT means***:'no more service on explaining myself you can factor this all together Christopher Nolan, perhaps!!!, of all people, MIGHT be able to comprehend this statement, but: THERE IS A dimension to science-fiction that ITSELF is in and of itself a self-made actualization of an imaginability that pertains on PRECISELY:NUTHING(and that? THAT, makes the issue one of total comformalization of an inherently nothing empirical realism combined-with an inherently SOMETHING imaginability(that is ITSELF a dimension of THOUGHT THAT masks access to a dimension of LIFE THAT NOBODY IN THIS 'version' can properly comprehensively pertain a limitational facultization on in any way shape of form unless you are willing to entertain something called 'substance' along-side of some other thing called 'truth'(that, in the natural original state of VISION is itself a way of MOLDING realisms into something that SEEMS as if it were playdough-elastic because it is NOT INHERENTLY FORMAL without a properly full-perspective and sense-access to what it is that is conformed in the mode of construing falsity and truth as substantialisms in and of themselves that can in and of themselves constitute plastic molded empiricalisms that themselves*are not maskable as anything other than false realities because they cannot endure without energetic consumption of effects that men, together, must combine to construe as a total empirical reality. And so: BINGO!!! that, if you can even begin to comprehend it it is not the most well-thought-through method*of en-scripting an explanation for the in-commen-sur-a-ble nature of fact and fiction that maskerades(NOT: masquerades because we take the whole thing to be a fictional representation across ALL MODES OF sensory access)the totalizable natural world of spiritual inhabitation in which we, as de-facto PRODUCTS(as well as 'producers' in the mode of allTogether-truthy)must falsify a method of imagining a world and a version of what we have as playdough to work with that as a whole-total itself is a NEVER BEFORE or ANYWHERE else(on account of conditions, specificities that inhere in multiplicites of ways and means and methods of activation...)seen-BEFORE enterprise of what human-beings are only than able to comprehend as either, (1), themselves the producers in awe of what they've made, OR, (2): in the mode of omniscience-perspectival INSCRIPTION on the understanding that comes from somewhere that doesn't not correlate with the former that this IS SOMETHING NEW NOVEL AND IMAGINATIVELY unknown-before...

Which is where we return to 'science-fiction', because, as explanation of all the foregoing it could also be said that these sets are not simply among the most ingenius things humans here on Earth ever made; in fact, they ARE THEMSELVES much more than anything they've certainly, since the displacement of imagination into CINEMA, had the gall to actually make(like the pointless PYRAMIDS and 'SPHINX-shits) as anything other than imaginations of worlds(which is why they are themselves so defined down to the micron-level they actually are the thing they pretend they are NOT which is why this masquerades the entire argument above because that is the nature of the whole enterprise.

So, in SHORT: I mean, just look: The Enterprise::: it's there(particularly on a PLASMA TV and the bluray edition it is no question there's nothing surpassed the special-effects"in this film in the 48-intervening YEARS!!!)!!!!!!:

Footnotes

A lesson on time

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'It indicates that there exists a greater world, and that its perimeter defines the limit of all created things; that at the far extremity of this great world there exists a privileged creation which reproduces, within its restricted dimensions, the immense order of the heavens, the stars, the mountains, rivers, and storms; and that it is between the effective limits of this constituent analogy that the interplay of resemblances takes place.'

--Foucault, The Order of Things: p.31

and, in another form:

[focused looking from a distance, a series of aesthetic particularities, each evoking a specific personality of movement, an aesthetic phenomenology each in themselves and together as a sequencialized exploration of a totality of space within the canvas <> looking into the mirror gazing …… until disjointed aesthetic elements separate from the dark background, each of themselves for what they are as such, drawn together into a sur-face whole > the gaze of the mind's perception] || [unfocused looking with the two eyes, one open another closed, in the two large paintings above <> a mirror becomes a mouth that reflects oneself in a position with respect to the superficiality of the canvas, in loving awe of the whole totality] :: the science of painting, reflecting the imaginative capacities of human being as a sublimity of self-expression and a faithfulness of touch

Something has happened to translators of MALLarmÉ he is not an absolute MORON like this translation pre-supposes that he is in fact he is despite TOLSTOY's insistent remarks, one of the geniuses of all poetic expression and that* WILL BE** PROVEN TO YOU RIGHT HERE AND NOW cinema fans...xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

THE WHOLE POINT OF THIS IN A NUTSHELL IS THAT A COUPE IS A COUP en ENGLAIS which is how this 'translator' would PREFER to translate that sentence I CAN ASSURE evryBODYs,THIS is*the BRAIN-ROT on translating this person BECAUSE NO ONE understands, lest of all the translational complex surrounding these vaunted, apogeee of all aristocratic beauty-sensibilities FRANCAIS people, those* whom REQUIRE ***FEALTY***on the part of the POSER art-world that knows little more than senseless INTERPRETATIONS of The Avante-GuardeRemonstrations of A* more/\/|refined refinitude than the other guy's false-effort to PAINT with his mouth THAT Mallarme here without the accent egu is noteworthy ON THIS POEM ALONE AND NONE OTHER FOR THE PRELIMINARY SKETCH nowPROVIDED IS ACCESS TO ALL understanding of his other work, whether or not you read it in native french or in English, (you can find the errors you will have the swift-breeze notionalism he blows straight through his works each and every one and SO:::if that doesn't already give you the HINT what it is that's missing if you translate COUPE not as 'cut' not as 'tasse' but as a fucking """"CUP?!! Simply because he is raising his fist to the sky later in the poem with a fuckin' beer-stein???No!It is the COUP that he has begun to win and that will rising tide swell over top the epitome of the artistic talent he will demonstrate to the WORLD!!!on behalf of all those that believe in NOTHING AT ALL even beauty itself is NOT ENOUGHONLYthe lowest common-denomination of MONEY will RULE THE WORLD he will say in his last eulogical imagining of the universe left to the PHENOMENON of The Future which is the beauty of women as sexualized objects in a wonderlust of lavender-hazed skys melting into the world he knows it would ever be if the points of those breasts(he would have said TITS for effin' shur, but..)could ever be recognized**** as pointed heavenly in ALL WAYS ****OTHER THAN**** PORNographicalizing them.

FULL\/STOPAND/\THATISALLTHEREISTOSAYABOUTIT! Flat-Proof that it is no longer acceptable for academics to PILE ONTO EACH AND EVERY SINGLE minute-detail of LIFE with the impetus to surround and CONQUER THE WORLD!!!!!on poetic injustice that masks the true IDENTITY CRISIS these fucking losers have, including this translator that got himself an awfully nice coffee-table book to show his dinner-COMrad's(cause they's all radicalCOOL, not rad'ed to one-another on any single fuckin' thing) CAUSE:::: :::!:::!!!they each and every one totally and flat-simple they now say it like sheep-dongles on this websiteBELIEVE/---that artistry is painting with word-salad concepts(and that is what you have above;(he changed it to a ':' and that IS FINE but it could also be left and a negative placed there somehow;: the translator's very own painting(and this dates from way back when NOT,unless you're retarded for one simple REAsON: Malarmé couldn't have read it in English if he tried BECAUuuuuussSE it was never translated INTO english properly recog'd until UBER-COOL people realized what he could be used for, as Badiou HAS FIGURED OUT////which is the vaunting of eventalization AS THE simple-most permiscuous way of traveling all around the globe for forty years saying precisely nothing but LET'S GET TOGETHER! COMMUNISM, my friendly friends; yeSS: MY FRIENDS!!! IT HAS AN ontology of BEING that networks through time and space to all the shit an actual researcher already knows about BUT THAT, WE, fine BOURGEOIS mal-contents on masochistic self-enjoyment through every single little tiny detail of OUR luxurious little lives(and Mallarmé whahn't poor either but he enjoyed his life a bit more thaen posting on social-media like all of the rich douche-bags thatTODAY THINK THEY ARE THE ARBITERS OF cool on wax-lyrical FOUCAULT(((([[[[)))))((((([and THAT IS ALL HE EVER WILL BE UNTIL SUCH TIME AS someone comprehends these gramatologicalsz]::::

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