Heap Золотая Лихорадка Аляска 3 сезон 23

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Fairy tales of the Viennese wood

FILM ЗОЛОТАЯ ЛИХОРАДКА АЛЯСКА 3 СЕЗОН

download the film Золотая Лихорадка Аляска 3 сезон and Covered space divisible, and even infinitely divisible, while movement is indivisible or not divisible without no change at each division's own nature.It follows that all of the space traversed belong to the same homogeneous space, while the movement are diverse and are not reducible to each other. Before developing a second thesis, recall his statement:you can not restore movement through provisions in space or moment in time, that is, through the fixed "slices" ...You carry out a restoration not only as estimating the positions or instant abstract idea of ​​the sequence, giving them mechanical, uniform and universal, copied from the space and the same for all movements and then you miss them in two ways movement.On the one hand, how infinitely you may be approached for a moment or two terms, the movement will always occur in the gap between them, and so, behind you.On the other hand, no matter how you divided and download the film Золотая Лихорадка Аляска 3 сезон and subdivided no time, movement will always occur in a specific duration, and therefore, every moment will get its own qualitative duration. Aznachit, we must oppose the two can not be reduced to one another formula:"Real movement - abstract duration" and " fixed slices abstract time." In 1907, Bergson in "Creative evrlyutsii" pushed the proverbial statement: Motion is the cinematic illusion. Cinema actually works with two complementary groups of data:with instantaneous cuts, called images, and with the movement, or impersonal, uniform, abstract, invisible or imperceptible time, which "is in depth" system and "by which" we scroll the string of images So, the movie shows us a false move, this is a typical example of a false movement.It is curious that the most ancient of the illusions Bergson gives so modern and "fresh" name - "cinematic." In fact, according to Bergson, when cinema with fixed slices restores motion, it does only what was pointed out ancient thinkers, or that is inherent in the natural perception.This is different from the phenomenology of Bergson's theory, for which the cinema soon broke with the conditions of natural perception."We do like a fleeting snapshot of reality and, as they describe this reality, satisfy stringing them on the abstract and invisible solid formation, located in the bowels of the cognitive apparatus ... So, as a rule, are perceptions, thought processes and language.Whether it is to comprehend the formation, express or even perceive it, we hardly do chtolibo else but turn a kind of internal movie camera. " Whether this should be understood to mean that, according to Bergson, the cinema is only a projection and reproduction of continuous and universal illusion?What if the people at all times to make a film without knowing it? But then a lot of questions.

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And the first of them is: is the illusion of reproduction, among others, and how to fix it? Can one of the artificial nature of the means used to draw a conclusion about artificiality and the result?After all, cinema works with photograms, that is, with fixed sections, and is twenty-four images per second.




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