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Flatland

2007, USA, 95 or 34 mins
Two animated versions now available on DVD.

Review by Carl Schroeder

Christmas is coming for many, winter solstice for even more, and the conclusion of another year for all. It’s a good time to see far we’ve come, where we’re going, and to give gifts that will be useful in the future. 2007 brought an historic cinematic event of fabulous height and spiritual depth, one which made it to neither theatre nor rental, but can be purchased directly on DVD.

Yes, I need to tell you about not one, but two fine animated versions of the classic Victorian novella Flatland, a genre-defying political religious sci-fi adventure that remains the greatest selling math book of all time, as well as one of the funniest, weirdest, most mind-stretching stories that most people will remember their entire lives.

People who know Flatland know that I’m not exaggerating. This cultural event of the mind and spirit continues to be celebrated in the most intriguing places. There are role-playing games. Top writers and thinkers write sequels, schools and colleges teach it. Carl Sagan used it on Cosmos, and there was a Flatland sequence in the New Age philosophy flick “What the Bleep Do We Know!?” Flatland seems destined to be a cherished part of the ever-expanding future of humanity. To have two of the best movie versions ever made both released in 2007 is surely a sign from and for that future (previous minor shorts were hand-drawn decades ago).

Why two versions? There is a strange acknowledged phenomenon in cinema that I call movie twinning. Inexplicably, to promoters’ chagrin, films often come in complementary pairs. Call it dumb luck, the zeitgeist, synchronicity, or deeper guidance, but examples abound. Remember 1998? That was the year of two big flicks about animated bugs, and two blockbusters of comets hitting the Earth. Audiences get confused, markets get diluted. Or energized, if handled right.

So with two Flatlands to stack up, let’s get it straight. Both are computer animated (they have to be, what with talking lines, squares, circles, and spheres, all on a budget). Both are updated from Victorian settings, with reasonable results (the feature’s Sphere runs a scandalized corporation, while the short has alien artifacts circa area 51).

Flatland: The Movie is a half-hour educational treat for all ages, a looser adaptation with gorgeous visuals and star voices. Flatland: The Film is a ninety minute indie feature which preserves the biting social satire of the original story with ideas and abstract violence (bleeding polygons) not appropriate for little kids (teens will be fine). The short movie is basically happy, mysterious, inspiring to the sciences, and will be popular among teachers. The feature length film touches on current events, including allusions to the Iraq war and anti-gay prejudice, to conclude apocalyptically (the book just ends with the protagonist in prison). Most adults will want to see both Flatland versions, sooner or later.

So what’s all the fuss about? What is a Flatland anyway? Flatland is a remarkable timeless metaphor for the expansion of human consciousness into new dimensions, and the societies which try to hold back those individuals who would lead us into the future. We see ourselves in the whimsical struggle of a two-dimensional square trying to comprehend the world from which a millennial messiah has come, a three-dimensional sphere. The planar universe of the square is called Flatland, and is ruled by a social order of increasing sides, culminating in the priests and kings who are approaching circlehood. The square makes his evolutionary leap to the next dimension by comparing himself, in turn, to the limited worlds of a point and a line, and then departing with the sphere to visit his city. Unfortunately, square’s enlightenment is so complete that not only does he return as a pariah in his own society, even his godly sphere savior leaves, offended at the suggestion that still higher gods and dimensions must exist above him.

Hmmmm.

Surprisingly, the analogies of the fully-titled book Flatland: A Romance of Many Dimensions go as deep down the rabbit hole as you care to explore. In 1884 when it was published by Edwin Abbott Abbott (his parents were cousins, so he got the same last name twice) the celebrities to roast included millennial Christians, Victorian chauvinists (Flatland women are piercing lines with frightening properties), Euclidean thinkers (mathematics was overturning to make way for Einstein), and narrow-minded leaders everywhere. The late 19th century saw the rapid spread of spiritualism from the United States to England, so theologians as well as lay people were straining for new images to explain where spirits and angels might be coming from. A fourth dimension was hotly debated until the public was ripe for the Flatland analogy, though nothing quite foreshadowed it like one precedent article which Abbott probably read. In 1880 geometer Charles Howard Hinton wrote “What is the Fourth Dimension?” about similar creatures. In 1907 Hinton wrote the first Flatland sequel.

The relevance of Flatland remains astounding to this day. Much of the charm comes from logical descriptions of life in two-dimensions, including flat mechanical systems like plumbing, favorites of Victorian armchair theorists that are now finding application in nanotechnology. The stinging social satire, worthy of Swift or Rabelais, includes a fascinating system of hierarchical white shape recognition and the threat of a colored revolution. Even our most modern intersection of spirituality and science, in which mathematicians increasingly advise us to believe in an 11-dimensional universe of universes (the multiverse), is largely seeded by brilliant people who were deeply affected by Flatland in high school or college. While string theory and m-theory may never be proven directly, the recent discovery of so-called dark matter, incredibly constituting an invisible 90% of our universe, may be evidence of the next dimensional universe interpenetrating our own. Imagine that!

Both Flatland animated versions can be found at Amazon.com. Depending on your audience, one or both would make a great gift — from you to yourself, if necessary!


Carl Schroeder publishes the MysticalMovieGuide.com website, which researches and reviews thousands of films with intriguing psychological and spiritual themes across all genres, countries, and styles - plus tips on where to find them.

 

The Human, the Orchid and the Octopus

Book review by Larry Ketchersid

For those of us who come of age in the 1960s or ’70s, the picture of Jacques Cousteau is fixed forever in our minds. A slight but wiry man, yellow tank peeking over his shoulder, falling backward off the stern of the good ship Calypso as he prepared for yet another dive down among the rays or the jellyfish or the sea cows or the parrot fish - down, literally, into his world, "the undersea world of Jacques Cousteau." His voice became just as familiar, with its somehow slightly wistful but still infectious Gallic intonation. "In ze wisdom of ze dolphins lies ze test of human wisdom." — From the foreword by Bill McKibben

At sixteen, my son is a well-read, well-informed, world traveler. His blank look when I told him I was reading an advanced copy of a new book by Jacques Cousteau is just one of the many reasons I am excited about the long overdue publication of this book. Cousteau died in 1997, and the absence of his influence in the past decade is echoed in my son’s generation’s lack of recognition.

Always passionate, frequently logical, sometimes preachy, The Human, the Orchid, and the Octopus presents Mr. Cousteau’s unique perspective on personal exploration, the environment and our power to influence it. The book sits well on my bookshelf next to volume 1 of The Ocean World of Jacques Cousteau that my father gave me years ago, a tribute to one of the world’s great explorers and visionaries. The influences of Cousteau and his unique perspective have reverberated through my own life, and his insights on mankind’s effect on the environment are felt in the perceived environmental calamity in my own novel, Dusk Before the Dawn.

The 25-page introductory biography of Cousteau, penned by his writing partner on this effort (and others), Susan Schiefelbein, is a reminder of the many marks Cousteau left behind in the world of scuba, exploration, conservation and political maneuvering. It puts into perspective the small amount of time that humans (with the exception of noted free divers of the world) have spent exploring the underwater world. Difficult to believe only some sixty-five years have passed since Cousteau’s first 1943 dive with his aqualung.

The first part of the book depicts Cousteau’s drive to explore and his risk taking. Accordingly, those chapters are categorized and titled "Personal Risk" and "Public Risk." Part autobiography and part philosophy, these pages illuminate Cousteau’s reason for being, exploring his need to understand, to research, to discover, and when and how he took risks both personally and professionally. He compares his own risk-taking to the risks and consideration companies and governments take when undertaking risks on "behalf of" the public they serve or sell to:

Those who plan public risks do not say "Follow me." They say "Trust me." Politicians may rarely be in a position to try technologies for themselves. But they are always in a position to demand that risks be fully investigated and that the people who face risks be fully informed. Too often decision makers abdicate this fundamental responsibility of risk management. They do not lead us through truly calculated risks for which they have isolated and then eliminated hazards; they instead goad us into a game of Russian roulette, instructing us to pull technical triggers without telling us if there are bullets in the chamber. This is not leadership. This is no democracy. This is technocratic dictatorship; this is market dictatorship.

As personal as it is, ultimately, this book is about conservation and the environment, and it is based on his years of exploration and countless thousands of hours underwater. No person has had more experience in how the changing world has affected the seas and the rest of the earth than Jacques Cousteau. He writes of visiting places where he explored via scuba, then returning many years later to see the coral gone, the sea life receded, the sea floor picked over. In a chapter titled "Saccage" he describes the phenomena:

Saccage begins where life began: In the nurseries of the sea. Life thrives in three parts of the ocean: the surface waters, penetrated by sunlight, where plant life blooms; the bottom, where organic detritus settles and the area in which these two life-nurturing factors combine, the continental shelf….These waters - just one half of 1 percent of the total ocean space - support 90 percent of all marine life….It is precisely on these coastlines where saccageurs wreck their havoc. Construction companies dredge for sand and gravel, scraping away Posidonia and fish hatchlings, shaving the bottom like a bald man’s pate...

In the subsequent chapter "Catch as catch can," fishing industry quotas and protected waters policies come under Cousteau’s logical and yet emotional scrutiny. He explains how the formerly boundless supply of fish from the oceans is being illogically and wastefully fished out, and gives us the following facts:

  • Fish provides on average only 5 percent of all protein humans consume daily
  • While it takes only 15 pounds of grass to produce 1 pound of beef, the ocean must supply some 1,000 pounds of plant life to feed all the creatures that will ultimately feed 1 pound of tuna
  • If we really wanted to feed the world with fish, then why do we throw so much fish away? Officials say that each year fisherman toss some 5 million tons of fish - more than 550 tons an hour - back into the sea to make room on their ships for the catch that will bring them the highest prices
  • If we really wanted to feed the world with fish, then why do we feed so much fish to our livestock? Pigs and chickens eat more than one third of the world catch
  • If we really wanted to feed the hungry world with fish, then why have industrialized nations depleted the waters of the hungry world? Fishing does not, nor has it ever, undergirded the economy.

He provides some recommendations to the failing fisheries strategy towards the end of this chapter.

Cousteau relates his views on nuclear power and his own personal fight against disposal of nuclear waste in the Mediterranean in the chapter entitled "The Hot Peace: Nuclear Weapons and Nuclear Energy." Cousteau protested against nuclear energy in France with General DeGaulle, and here he details not only the proliferation of nuclear weapons and nuclear power, but also his arguments against their quick, widespread, and sometimes secret deployment.

The last two chapters are Cousteau’s imagination and plea about life, his summation of what he sees man inflicting on the environment  and upon himself; he imagines a hoped for "Life in a Billion Years" and describes his sense of wonder and awe at "The Miracle of Life" in the final chapter.

The book is brought up to date in the Epilogue by Ms. Schiefelbein, cataloging some of the events in the ten years since the book’s writing (the book was published in France shortly after Cousteau’s death).

While the topic of man’s impact on the environment is a tired one, Jacques Cousteau’s unique place in the history of exploration of the world and the sea makes this treatise on conservation required — and worthy — reading.

 










   
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 


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