You blithering idiots infesting this Planet Earth too dumb and too stupid to even grasp how dumb and stupid and moronic and ignorant you are of the Universe above your monkey head.
Narcissistic MONKEYS incapable of independent thought.
Because your life is pointless and pathetic and meaningless and all you can think about is your pathetic self and you choose to ignore TRUTH about the Universe because it gives you nothing.
You're dumb and stupid and you make other people dumb and stupid.
http://hubblesite.org/image/4493/gallery
star-trek-first-contact_01h14m30s.jpg
star-trek-first-contact_01h14m26s.jpg
star-trek-first-contact_01h14m56s.jpg
star-trek-first-contact_01h14m57s.jpg
star-trek-first-contact_01h15m00s.jpg
star-trek-first-contact_01h15m02s.jpg
star-trek-first-contact_01h15m04s.jpg
20161116_130849.jpg, infant Kerry Wayne Burgess, et al. circa 1966
https://en.wikipedia.org/wiki/Suprematism
Suprematism
From Wikipedia, the free encyclopedia
Suprematism is an art movement, focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, around 1913, and announced in Malevich's 1915 exhibition, The Last Futurist Exhibition of Paintings 0.10, in St. Petersburg, where he, alongside 13 other artists, exhibited 36 works in a similar style. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects.
From 12/15/1920 ( ) To 12/30/1924 ( ) is 1476 days
1476 = 738 + 738
From 11/2/1965 ( my birth date in Antlers Oklahoma USA as Kerry Burgess ) To 11/10/1967 is 738 days
From 10/26/1963 ( ) to 11/2/1965 ( my birth date in Antlers Oklahoma USA as Kerry Burgess ) is 738 days
From 11/2/1965 ( my birth date in Antlers Oklahoma USA as Kerry Burgess ) to 11/10/1967 is 738 days
From 3/3/1959 ( the birthdate in Hawaii of my biological brother Thomas Reagan ) To 3/10/1961 ( premiere US TV series episode ""The Twilight Zone"::"Static" ) is 738 days
From 11/2/1965 ( my birth date in Antlers Oklahoma USA as Kerry Burgess ) To 11/10/1967 is 738 days
http://www.tv.com/shows/star-trek/metamorphosis-24923/
tv.com
Star Trek Season 2 Episode 9
Metamorphosis
Aired Nov 10, 1967 on NBC
When their shuttle is diverted to a planetoid, Kirk, Spock, and McCoy encounter Earth's Warp Drive pioneer, Zefram Cochrane, who appears to have survived there alone for 150 years.
AIRED: 11/10/67
The Twilight Zone (1959) s02e20 Episode Script
Static
(internet transcript)
And those programs- we used to listen to them together in the dark.
I'd forgotten.
When you hear those programs you're like a young man again with all of your life ahead of you but it isn't so, ed.
It's all over between us.
We missed our chance.
We can't go back.
You think it's all in my mind, don't you? You think i'm just imagining
Star Trek - Metamorphosis - television series Season 2 Episode 9 - Aired Nov 10, 1967 on NBC
(from internet transcript)
KIRK: Companion. (It leaves Cochrane) We wish to talk to you.
COMPANION: How can we communicate? My thoughts, you are hearing them. This is interesting.
https://www.cambridge.org/core/journals/journal-of-interamerican-studies-and-world-affairs/article/international-significance-of-the-lunar-landing/3C2BB5089E2A7AC66F2C0214B3E95FA5
Cambridge University Press
Journal of Interamerican Studies and World Affairs, Volume 12, Issue 1 January 1970 , pp. 3-30 This volume was published under a former title. See this journal's title history.
The International Significance of the Lunar Landing
Foy D. Kohler (a1) and Dodd L. Harvey (a1)
DOI: https://doi.org/10.2307/174840Published online: 02 January 2018
The initial impetus came from publication of a letter of July 23, 1963, from Sir Bernard Lovell, Director of the Jodrell Bank Observatory, to Dr. Hugh Dryden, Deputy Administrator of NASA, in which Lovell reported the president of the USSR Academy of Sciences had told him “that the Academy believed that it was now appropriate to formulate on an international basis (a) the reasons why it is desirable to engage in the manned lunar enterprise and (b) to draw up a list of scientific tasks which a man on the moon could deal with which could not be solved by instruments alone.” The campaign was strongly fed by a Khrushchev statement reported in Izvestia of October 26, 1963, to the effect that, “At the present time we do not plan flights of cosmonauts to the moon.” These statements were widely interpreted as meaning the Soviet Union (a) was out of the moon race, and (b) was now ready for full cooperation with the United States in a joint endeavor. Both of these inferences were subsequently repudiated by the Russians.
star-trek-first-contact_00h55m55s.jpg
star-trek-first-contact_00h55m57s.jpg
https://en.wikipedia.org/wiki/November_1967
November 1967
From Wikipedia, the free encyclopedia
The following events occurred in November 1967:
November 9, 1967
At 7:00 in the morning at Cape Kennedy in Florida, NASA successfully launched the powerful Saturn V rocket, propelling the unmanned Apollo 4 test spacecraft into Earth orbit and resumed the Apollo program after nine months. The Saturn V, the most powerful rocket created, broke a record by lifting a payload of 285,000 pounds (129,000 kg), the combined weight of the Apollo 4 capsule and a mockup of the lunar module into orbit. The unmanned Apollo craft was sent to an altitude of 11,386 miles (18,324 km) and then returned to Earth safely in a successful proof of its heat shield, which endured the friction of a high speed descent through the Earth's atmosphere and was picked up near Hawaii by the aircraft carrier USS Bennington The launch was a validation of the "all-up" decision by the director of NASA's Office of Manned Space Flight, George Mueller, to flight test all three stages of the Saturn V rocket at the same time, rather than wasting resources and time by first launching the three stages individually.
https://www.presidency.ucsb.edu/documents/statement-the-president-the-successful-launching-the-first-saturn-v-rocket
The American Presidency Project
LYNDON B. JOHNSON
36th President of the United States: 1963 ‐ 1969
Statement by the President on the Successful Launching of the First Saturn V Rocket.
November 09, 1967
THIS MORNING, at exactly 7 a.m. eastern standard time, the whole world could see the awesome sight of the first launch of what is now the largest rocket ever flown. This launching symbolizes the power this Nation is harnessing for the peaceful exploration of space. The successful completion of today's flight has shown that we can launch and bring back safely to earth the spaceship that will take men to the moon. I have conveyed to our space team my congratulations for their splendid performance.
https://www.forbes.com/sites/jonathonkeats/2015/11/11/this-blockbuster-exhibition-and-book-revisit-the-space-race-from-a-soviet-perspective/#72ef89e158b4
Forbes
Nov 11, 2015, 06:01am
This Blockbuster Exhibit And Book Revisit The Space Race From A Soviet Perspective
Jonathon Keats
Contributor
Critic-at-Large
Thirty-eight years before the Soviet Union ignited the Space Race by launching Sputnik into orbit, the Russian artist Kazimir Malevich called for the construction of "a new Suprematist satellite" between the Moon and Earth. Malevich had unusual ideas about astronautics, believing that spacecraft could be fueled by human intuition. But his mystical vision of the cosmos led him to "overcome the lining of the colored sky" in his painterly pursuit of pure abstraction.
Other artists of the era were thinking in equally otherworldly ways. In the same year that Malevich called for the launch of a Suprematist satellite, Vladimir Tatlin revealed the first models for his Monument to the Third International, a spiraling structure that was to be taller than the Eiffel Tower. The iconic monument was designed with a tilt corresponding to the planet's axis, which Tatlin believed would help it to perform its highest function: transmitting Communist ideals throughout the Solar System.
It would be easy to dismiss the avant-garde experiments of early Soviet artists as irrelevant to the midcentury success of Sputnik and Yuri Gagarin. According to conventional wisdom, the Space Race was essentially a Cold War exercise, with fringe benefits for science. An important new exhibition at the London Science Museum – and an excellent accompanying book – reveal a far more complicated story in which artists such as Malevich and Tatlin are pivotal.
During the first decades of the 20th century, Russian scientists developed many of the theoretical foundations of rocketry. Their work was not sustained by the state, but emerged from a community that included painters and poets who collectively conjured a sense of destiny strong enough to overcome practical hardship. "Earth has been abandoned like a worm-eaten house," Malevich wrote with characteristic intensity. "An aspiration towards space is in fact lodged in man and his consciousness, a longing to break away from the globe of the Earth."
The true origins of the Russian space program are to be found in the spiritually-tinged utopian yearnings of the first Soviets, manifest in the artworks of the Russian avant-garde. It took the Cold War – and the first ICBM – to put Sputnik into orbit. In practical terms, it was a political invention. But if you peer deeply into the cosmic propaganda of the period, you might just be able to detect the break-away longings motivating Malevich's Suprematist satellite.
star-trek-first-contact_00h56m08s.jpg
http://www.vancouversun.com/news/metro/this+history+december+1924/9333669/story.html
Vancouver Sun
This day in history: December 30, 1924
TIFFANY CRAWFORD, VANCOUVER SUN 12.30.2013
Eighty-nine years ago, American astronomer Edwin Hubble shattered mankind's understanding of the universe when he announced there are other galaxies in the cosmos. It was one of the greatest scientific discoveries of the 20th century.
Using the 100-inch Hooker Telescope, the most powerful telescope of its time, at the Mount Wilson Observatory near Los Angeles, Hubble peered deeper into the universe than anyone had before, and revealed the Andromeda Nebula contained a galaxy and not just nebulae.
On Dec. 30, 1924, Hubble published his observations, which would be reviewed at a meeting three days later of the American Astronomical Society.
He staggered scientists and crushed conventional wisdom that the Milky Way was the boundary of the universe. The idea that there were other galaxies had been opposed by astronomers at Harvard University.
Hubble devised the most commonly used system - the Hubble sequence - for classifying galaxies by grouping them according to their appearance and distance. He then noticed red shifts in the emission of light from the galaxies, and saw that they were moving away from each other at a rate constant to the distance between them. From these observations, he formulated Hubble's Law in 1929, postulating that the universe was expanding.
In 1917, Albert Einstein had introduced his general theory of relativity, claiming that space was curved by gravity and must be able to expand or contract. But he found this assumption so far fetched, that he revised his theory, stating that the universe was static and immobile.
Following Hubble's discoveries, Einstein was quoted as saying that second guessing his original finding was the biggest blunder of his life, and visited Hubble to thank him in 1931, according to the biography website edwinhubble.com. Hubble died from a blood clot in his brain on Sept. 28, 1953. As a legacy, NASA launched the Hubble space telescope in 1990, the world's most famous telescope, which continues to photograph galaxies far, far away.
https://www.tate.org.uk/context-comment/articles/cosmos-and-canvas
TATE
The cosmos and the canvas
Malevich at Tate Modern
Aleksandra Shatskikh
30 July 2014
Tate Etc. issue 31: Summer 2014
Kazimir Malevich’s work tells a compelling story about the dream of a new social order, the struggle of revolutionary ideals and the power of art itself. Central to this was his prescient fascination with outer space, the cosmos and man’s destiny to explore it (at one point he kept a telescope in his pocket), and a key part of his art pre-empted Russia’s enchantment with travel beyond our world
Early twentieth-century Russian painting innovators followed in the wake of their Western contemporaries’ artistic discoveries, but they strove passionately for independence and originality. The breakthrough was made by Kazimir Malevich, who first created wholly abstract compositions. His most famous work, Black Square 1915, became a universal symbol of a new era in art.
A few words about the artist’s biography: according to new information, Malevich was born not in 1878 but in 1879, in Kiev, to a Polish family; he died in Leningrad in May 1935 from a serious illness that prevented him working during the last year of his life. He did not emerge as an avant-garde painter until 1910, when he was over 30, meaning that his career spanned only a little more than two decades. During this brief time, Malevich was effectively an entire contingent of artists, each of whom had the first or definitive word in many spheres of artistic culture.
In painting, any one of Malevich’s artistic periods after 1910 - be it his first series of paintings of agricultural workers, his Expressionist Neoprimitivism, or Cubo-Futurism - would have guaranteed him a place of honour in the history of Russian art. While everything that happened in 1913 and afterwards - his set design for the Futurist opera Victory Over the Sun, the alogical painting of what he called Fevralism, Suprematism, the ‘planits’ [Malevich’s idea of man-made planets], his visionary architectural models the ‘architectons’, the post-Suprematist painting - each on its own would have secured him an unrivalled place in the history of world art.
It was his work on Victory Over the Sun that gave rise to his first personal ‘ism’, Alogical Fevralism. Speaking at a debate in February 1914, the artist announced that he had ‘rejected reason’. The Fevralist was now placing his bets on irrational ‘sensation’. Freed from objective representations, this would lie at the heart of the new art and, through it, a new world view, and could rest only on phenomena that were purposely not subject to the distorting directives of human reason. Malevich, born the same year as Albert Einstein (1879-1955), perceived these phenomena in physical manifestations such as electricity, Röntgen rays and gravitation, which reigned invisibly in space and time.
In spring 1915 the solar symbolism of Victory Over the Sun took on new meaning for Malevich. In addition to its ‘desconstructivist’ (his own term) objectives, the Futurist masterpiece was discovered to have utopian-constructive potential, which the painter linked to the energetic essence of universal processes and their invisible incorporeal might. Henceforth, the Russian avant-gardist would consider embodying nature’s true (read, abstract) being to be the goal of both his own art and art as a whole.
Malevich included the expression ‘partial eclipse’ in his works during his Fevralism period, such as Composition with Mona Lisa 1914. The Black Square of 8 June 1915 marked the “total eclipse” that had long been maturing in his art. The black rectangular plane definitively crowded out the natural celestial body that had ensured the sensory perception of earthly reality. It shifted its creator to another - purely speculative - dimension. ‘A system is being constructed in time and space; independent of any aesthetic beauties, experiences, moods, rather [it] is a philosophical colour system for realising the new achievements of my ideas as cognition,’ Malevich wrote in the preface to a 1919 group exhibition in Moscow. Subsequently, in his theoretical works he expanded several times on the unitary nature of the universe’s spaces and ‘the infinite space of the human skull’.
Malevich called his abstract compositions Suprematism, which in its first stage meant the dominance of colour energy and its transformations in painting. For him, the life of colour as such was indissolubly linked to the universe: object-less colour generated the sensation of its object-less, image-less being.
According to Malevich, the ‘white abyss’ of the background, whose whiteness was conditioned by the extreme incandescence of energetic tension in the universe, was the manifestation of space on Suprematist canvases. In late 1917 the painted elements became increasingly dynamic. Their sharp edges cut into the whiteness, and as the concentration of colour decreases, the boundary between figure and background disappears.
Malevich called this process ‘dissolution’, a term with cosmic connotations: ‘The cosmos is dissolution. The Earth is a small splitting,’ as AA Leporskaia quoted her teacher in her diary. Through the dissolution of colour by the white abyss in Suprematism, the phenomenon of non-material time, linked to non-figurative space, appeared more often. In a 1918 poem, Malevich developed this idea:
Each shape has a real type of time and the coloration of colours is the power of the time’s oscillation, time’s movement creates shape while simultaneously colouring it and consequently the speed of time can be defined by colour.
Like Black Square before it, Suprematist Composition: White on White 1918 was created over an existing painting. The white square on the white background was a symbol signifying the move of an author transformed by transcendence into the “white world order”.
In Malevich’s everyday life, his proclamation of the inevitable break from earth and speculative mastery of space turned into a passionate immersion in astronomy. During his Vitebsk years (1919-22), he was never parted from his pocket telescope, constantly observing and studying the starry sky, the map of which he knew thoroughly. This engendered one of his most astounding texts, Suprematism: 34 Drawings, published on 15 December 1920 with its prophetic lines in the introduction about humanity’s cosmic future. It was here that he gave the ordinary word ‘sputnik’ - Russian for companion or fellow traveller - the meaning that made it famous. As we know, ‘sputnik’ has existed in all the world’s languages without translation ever since the call signs of an artificial, man-made celestial body went out on 4 October 1957.
In his text, Malevich lays out visionary ideas of amazing heuristic power, while touching on a sphere seemingly removed from art - technology:
The Suprematist machine, if it can be put that way, will be single-purposed and have no attachments. A bar alloyed with all the elements, like the earthly sphere, will bear the life of perfections, so that each constructed Suprematist body will be included in nature’s natural organisation and will form a new sputnik; it is merely a matter of finding the relationship between the two bodies racing in space. A new sputnik can be built between Earth and Moon, a Suprematist sputnik equipped with all the elements that moves in an orbit, forming its own new path.
In these last words one cannot help but recognise the space stations so familiar to us today, which truly are ‘new sputniks equipped with all the elements’.
Malevich goes on to propose a scheme for overcoming gravitation between celestial bodies and ensuring progressive advancement into the cosmos: ‘After studying the Suprematist shape in motion, we have decided that movement in a straight line towards any planet can only be accomplished by the annular movement of intermediate Suprematist sputniks forming a direct line of rings from sputnik to sputnik.’ Then come lines that make us think that the artist had peered into the distant future: ‘In my research I discovered that Suprematism holds the idea of a new machine, i.e. a new, wheel-, steam- and gasoline-less engine of the organism.’
For many years, Malevich the theoretician used astronomic terms while studying the culture of contemporaneity. Tools borrowed from the astronomic discourse seemed to bolster and strengthen the strict universal law that he believed served as the foundation for artistic creation. The great generator of plastic ideas labelled his architectural models, or architectons as they were called, with Greek letters the way astronomers label the constellations. His architectons (alpha, beta, zeta) were also the earthly precursors of a new architecture; they were supposed to be transformed into ‘planits’ - installations soaring into space and inhabited by ‘earthlings’. ‘Planits for earthlings’ were on a par with the planets and stars in the universe. The designs and neologisms Malevich created for them neatly accentuated Suprematism’s cosmic vector.
The Russian avant-gardist was not only a great artist, he was also a keen thinker and subjected recent movements - Impressionism, Cubism, Futurism - to theoretical research. These were all retrospective analyses, as he strove to understand the sources of his own achievements in art. But he was fated to know only in part what he had created, produced and engendered in his own lifetime. The entire twentieth century would go on displaying things that came into the world via Malevich in new contexts and interpretations.
Many phenomena that appeared for the first time in his work were only picked up on years later. For example, people have quite rightly seen the simple, singular shapes of the Suprematist protofigures as harbingers of the aesthetics of minimalism in the second half of the century, while his white on white canvases resonate, for example, in the monochrome works of Yves Klein. His true recognition did not come until the 1960s, but the discoveries that brought fame to his successors already existed in the Russian’s work, seemingly having settled for the time being in the collective artistic subconscious.
A drawing not made public until 2000 shows us that Malevich created an extremely mature Conceptualist work. Writing the word ‘Village’ in a frame, he explained: ‘Instead of drawing the huts of nature’s nooks, better to write ‘Village’ and it will appear to each with finer details and the sweep of an entire village.’
His first one-man show, ‘Kazimir Malevich: His Path from Impressionism to Suprematism’, opened in Moscow on 25 March 1920. Following the white on white works, it ended with empty canvases that seemed to hurl man into the space of pure speculation, standing him in front of a clean screen on which he was free to project his own ideas within the broadest range.
The artist-philosopher was bewitched by ‘emptiness’, which contained everything and spoke of the presence of the Absolute (God). He expressed his astonishing intuition as well in about 1924, on the clean flyleaf in his notebook, where a line appeared: ‘the goal of music is silence’. It’s hard to get away from the thought that John Cage, who in 1952 created his famous silent opus 4’33”, found an extraordinarily effective way to realise this idea, which was, in fact, a favourite notion of the twentieth-century arts in general. However, Malevich was able to embody it more than once, and by quite various means, which in and of itself speaks to the great inventiveness of his talent. For his Black Square was the Zero of forms, his empty canvases were the Zero of forms, and his ‘the goal of music is silence’ was the Zero of forms.
Malevich, sponsored by Amsterdam Trade Bank and Blavatnik Family Foundation, Tate Modern, 16 July - 26 October 2014.
https://www.nasa.gov/centers/marshall/history/hubble02.html
NASA
Dec. 31, 2013
Anniversary of Edwin Hubble’s Great Discovery
On December 30, 1924, astronomer Edwin P. Hubble (1889-1953) announced his discovery of the spiral nebula Andromeda, proving for the first time that our own Milky Way was but one of many galaxies in the vast universe. The Hubble Space Telescope, the development of which was led by NASA’s Marshall Space Flight Center in Huntsville, Ala. was named for the distinguished astronomer.
- posted by Kerry Burgess 10:34 PM Pacific Time Spokane Valley Washington USA Saturday 08 June 2019
