On July 4, C.E.R.N physicists publicly acknowledged the existence of the fabled Higgs boson, and the world cheered.
The ‘God particle’ is being popularly hailed as the most significant discovery since experimental confirmation of Einstein’s theory of relativity. The physicists being championed for leading mankind another significant step, rather, a giant leap closer to understanding the workings of the universe. What is being less talked about is what it cost to get us there.
C.E.R.N’s Large Hadron collider(LHC), completed in 2008, is mankind’s most sophisticated feat of engineering. Built with hopes of gaining insights into 96 percent of the universe invisible to us- ‘dark’ matter- the doorkeeper to which is the Higgs boson. LHC is a giant atom smasher, a playground where physicists simulate conditions fractions of seconds into the big bang. And quite an expensive toy.
Does an intellectual quest justify the billions of dollars drained from a world on its economic crutches? When a significant portion of human beings barely keep abreast of the poverty line? Human rights activists will no doubt holler about malnourished children in Africa, but Michael Tuts, Professor of Physics at Columbia University thinks it is.
“In the early 1900s, I doubt anyone could have foreseen how quantum mechanics would become the bedrock of our current technology (such as cell phones and computers) or how important Einstein’s theory of general relativity would be.”- he says. “Could anyone have imagined that the effects predicted by general relativity are crucial to the accurate functioning of the ubiquitous GPS systems that we have in our cell phones?”
On a different note, Barack Obama, before being elected for his first term, was asked if he believed there was life out there in the cosmos. “What I know is that there’s life here on earth, and we’re not attending to life here on earth.” he glibly answered. “That’s what I’ll be attending to first.”
Mankind’s reach for the stars is at the expense of its own kind. Hundreds and thousands of humans sacrificed on the altars of science along the way is just collateral damage.
It would be criminal in context, to leave out the most significant engineer in history, one Nikola Tesla, born in 1856.
Had Tesla’s inventions perpetuated, we wouldn’t be paying for electricity today. Cars would not burn fossil fuels. Global warming would be less of an issue and more importantly, society significantly closer to a socialist utopia. Capitalism’s death knell resounding.
So much for the God particle.
Christopher Nolan’s iconic film, ‘The Prestige’ features Tesla as a minor character played by David Bowie. In a memorable moment the film’s protagonist Angier, played by Hugh Jackman, is thus introduced to the inventor’s genius:
As night falls and the town of Colorado Springs sleeps, Tesla diverts its electricity to power his own experiments; Angier left awestruck when bulbs light up without wires, and continue to shine when lifted from the snow.
What is less widely known is Tesla was actually capable of such wizardry. There are accounts of reporters visiting Tesla’s labs where electricity was similarly harnessed without wires. Yet when Tesla sought funds to mass produce it, J.P Morgan refused because he couldn’t put a meter on it.
Tesla’s contributions were further censored by the physics ‘priesthood’ since it made out their beliefs on the universe’s workings to be a joke. Tesla showed that energy could be borrowed freely from the environment. But our current science has since devolved into a capitalist tool for perpetuating scarcity economics, forgotten the primary reason science exists: to better human life.
Most physicists do not swear by the ‘God particle’ lest they be compared to priests, claiming it sensationalizes an extremely mundane, weighty problem: how subatomic particles acquired mass at the beginning of our universe, how they ceased to be ‘virtual’ and became ‘real’. Whatever it might have cost, the Higgs boson has unquestionably laid bare new frontiers.
The world is watching from the sidelines, psyched for the next breakthrough. But any physicist worth their salt will be bracing for the low blow- for history tells that a significant scientific breakthrough is only ever a humbling experience. When the veil of dark matter lifts, we might look up at the stars and discover we havenít come as far as weíd like to believe, and might still be trapped in the darkness of Plato’s cave measuring shadows with ruler, compass and astrolabe.
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Bereits kurz nach Veröffentlichung des Romans Casino Royale
verkaufte Autor Ian Fleming die Verfilmungsrechte an den amerikanischen Fernsehsender CBS, der die Geschichte für eine 1954
veröffentlichte Episode der Serie Climax!
Damit lassen sie Casino Royale auch dort, wo er in Sachen Gewalttätigkeit über die Stränge schlägt, genießbar bleiben. Und dass Campbell mit seinem Kameramann Phil Méheux,
nach den fidel-turbulenten Zorro-Filmen mit Antonio Banderas
und dem elegant-effizienten Goldeneye auch anders können, nämlich hart und brutal,
dazu auch mal mit Handkamera Bond zu Leibe rücken, wenn es angebracht ist, beweisen sie
eindrucksvoll. Doch dafür sind zum ersten Mal die Figuren (zumindest
die hauptsächlichen) echte Charaktere.
Zudem offenbart M, dass Vesper am Abend von Bonds Folter einen Deal mit Mr.
White einging, seinen Leuten das Geld zu übergeben, wenn dafür Bonds Leben verschont würde.
Von M erfährt er, dass Vespers Verrat mit der Entführung ihres algerischen Freundes erpresst
wurde. Bond kann die bewaffneten Hintermänner ausschalten, doch Vesper entschuldigt sich bei Bond und
schließt sich in einen vergitterten Fahrstuhl ein, der
mitsamt dem Haus im Canal Grande versinkt. Er sendet via E-Mail seine Kündigung an M,
um mit Vesper die Welt zu bereisen und das Leben zu genießen. Trotz Folter verweigert Bond den Kontozugang
zum Turniergewinn, und Le Chiffre beschließt schließlich, ihn zu töten.
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Before he can, a fellow player reveals himself as CIA agent Felix
Leiter, who offers to stake Bond in exchange
for custody of Le Chiffre. Bond loses his initial stake and
Vesper refuses to give him $5 million to continue playing.
Left with a huge loss and under pressure to recoup his terrorist clients’ money, Le Chiffre sets up
a high-stakes Texas hold ’em tournament at the Casino Royale in Montenegro.
In Miami, 007 kills Dimitrios and follows Le Chiffre’s henchman, Carlos, to Miami International Airport.
The first scenes shot were ones involving a Madagascar building site,
shot in the Bahamas on the site of a derelict hotel with which Michael G.
Wilson had become acquainted in 1977 during the filming of The Spy
Who Loved Me. Three scenes involving primarily
physical effects in the film were the chase at a building site in Madagascar, the Miami Airport chase sequence, and the sinking Venetian house, with sets located on the Grand
Canal and in Pinewood Studios. In creating the shadow images of the sequence, Kleinman digitized the
footage of Craig and the film’s stuntmen on the Inferno visual effects system, at Framestore CFC in London; the actors’
silhouettes were incorporated into more than 20 digitally animated scenes depicting intricate and innovative
card patterns. Rachel McAdams turned down a role in the film to
focus on raising her own family. Throughout the entire production period, Internet campaigns such as “danielcraigisnotbond.com” expressed their
dissatisfaction and threatened to boycott the film in protest.
He claims to have worked behind the scenes with the Fleming
family, and believed this was the reason why filmmakers finally went ahead with Casino Royale.
Alpert would later contribute a trumpet solo to the title
song of the 1983 James Bond film Never Say Never Again, which was performed by Alpert’s wife, Lani Hall.
Outtakes of Sellers were also used for Evelyn’s dream sequence (pretending to play
the piano on Andress’ torso), in the finale – blowing out the candles while in highland
dress – and at the end of the film when all the various “James Bond doubles”
are together. The framing device of a beginning and ending with Niven was created to salvage the material.
Additionally, Sellers went absent for days or weeks at a time, refused to appear in his scenes with
Welles and exited before all of his scenes had been shot.
This story is in agreement with the observation that the only parts of the film close to the book are the ones featuring Sellers
and Welles. Some Sellers biographies suggest that he took
the role of Bond to heart, and was annoyed at the decision to
make Casino Royale a comedy, as he wanted to play Bond straight.
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