Like the art cinema of David Lynch or Luis Bunuel (not to mention Harrington's most immediate influence/mentor, the long-venerated celluloid poet Maya Deren, whose 1943 short Meshes of an Afternoon clearly turned the budding filmmaker Harrington on to the medium's wider-than-imagined possibilities), Harrington's films aren't abstract so much as they, very much like a dream (the closest experience to cinema real life offers, and offered long before movies ever existed), consist of narratives with recognizable, "real" human figures and places where some kind of story is happening, except with a disconcerting adherence to their own unpredictable, irrational internal logic and sign systems. In 1946's 13-minute Fragment of Seeking, his first completed work as a mature filmmaker, a twentysomething Harrington himself appears as the bespectacled, fedora'd, trenchcoat-clad, faintly androgynous (he resembles Truman Capote a bit) young man who, when he enters through an imposing gate into the courtyard of a beautiful old ivy-covered L.A. apartment building, is captivated and led ever deeper into a mysterious realm (like Alice down the rabbit hole) by a girl who, with her Veronica Lake blonde tresses, is ravishing enough to be a starlet. As he watches and pursues her through the walkways and corridors around and inside of the building, what at first looks like voyeuristic flirtation becomes a journey into the young man's own deepest fears and desires -- a gorgeous and terrifying pulling back of the veil of surface reality for a glimpse of both his true self and that too-close-for-comfort Freudian link between sex and death. Like all of this early work, the film is more or less silent-with-score (by Ernest Gold, whose music is fantastically cinematic and integral to setting the mood of many of these these moody pictures), and Harrington uses no effects any more special than the skilled, inspired manipulation of shadow and light and a very finely honed intuitiveness at the editing table to create a world as convincing and vivid as it is removed from realism -- one with a lush, eerie atmosphere fraught with allure, suspense, danger, and dread.

本系列探讨弗洛伊德精神分析学说对20世纪的巨大影响。 　　美国特纳出版公司最近出版的《20世纪人类全纪录》，把1900年西格蒙特·弗洛伊德《梦的释义》的出版作为20世纪的开端。这决不是别出心裁，而是把精神分析理论的问世当作一个划时代的标志，从此人类对自身的探索进入了一个新阶段，所以有些西方学者把20世纪称之为"精神分析的世纪".《梦的释义》出版100年来，人们对精神分析学说毁誉参半，研究弗洛伊德的着作就达几千部，特别是许多思想大师都对弗洛伊德做出了评价，这就使人们常常戴着大师们的眼镜去看待弗洛伊德，由此产生了一些"错误认同".正如当代意大利哲学家恩贝托·埃柯（UmbereoEco）所说，马可波罗在爪哇把犀牛认作独角兽，这种错误认同产生的原因在于"他正是他的"背景书籍"的牺牲品。"①经过100年的洗礼，弗洛伊德的思想价值不但没有减弱反而增强了。因此要摆脱以往人们对弗洛伊德的错误认同，强调个人对弗洛伊德原着的特殊理解，并把这种理解与当代学术界的研究成果结合起来是十分必要的。首先，弗洛伊德不仅是一个精神病专家，更重要的是，他作为一个人文科学思想家在历史上留下了宝贵的精神财富。 　　弗洛伊德从人类心理冲突的角度去关照潜意识的产生与作用。因此，他的发现不仅意味着医学的进步，还打破了人类思想与生活中的许多假象，扩展了人类对精神生活的感知，并以不能再视而不见的事实描述出潜意识这种复杂而真实的人文现象。他对梦的层层揭示触及了人类精神世界最难以接近的部分。他对导致人的梦境的潜意识的分析引导着人类更透彻地了解了自己——20世纪达利的绘画、劳伦斯的小说、希区柯克的电影、马勒的音乐，弗洛伊德对生命潜意识的透视在几乎所有人文领域里都留下了深刻的印记。 　　当弗洛伊德80岁诞辰来临之际，全世界200多位科学艺术家致信祝贺，他们说：“如果世间有什么行动可以被永远铭记的话，那就是对人类心灵的洞察。” 　　弗洛伊德，“有史以来第一位正视人类心灵问题的人”。

在这部纪录片里，大卫·马龙聚焦四位无与伦比的数学家：乔治·康托尔、路德维格・玻尔兹曼、哥德尔和阿兰·图灵。他们的天才光耀千古，他们的智慧深刻地影响了后世的我们。但是当同时代的人用尖刻的、猛烈的批评表达他们的反对意见时，它能产生一种悲剧性的结果，使他们精神错乱，最终都以自杀结束了自己的生命。 　　本片也与目前最著名的学者进行了对话。包括Greg Chaitin——纽约IBM TJ华生研究中心的数学家，以及罗杰·彭罗斯等人，他们仍在孜孜不倦地探寻世上到底是否有数学家不能弄明白的事。 　　《危险的知识》抓住了一些现实的深刻的问题，目前数学家仍在力图给出解答。请看一下下面的信息：这是一部完整的纪录片，只是因为技术原因才分为两部分。观看的时候要看完，而且请不要在看第一部分之前看第二部分。 　　1 of 2　上帝的信使 　　这部片子从乔治·康托尔开始讲起。他是一位伟大的数学家，创立的集合论已被尊为20世纪全部数学的基础。他认为自己是上帝的信使。因为他的老师利奥波德·克罗内克痛恨并敌视他以及他的理论，来自数学权威们的巨大精神压力终于摧垮了康托尔，结果康托尔精神失常，最终被疯狂所驱使，力图证明自己的无穷数理论。事实上，他的晚年是在精神病院度过的。 　　路德维格・玻尔兹曼力争证明原子和概率的存在，而奥斯特瓦尔德和马赫的强烈批评使他深感失望，导致了他最后的自杀。 　　2 of 2　谜团 　　哥德尔是爱因斯坦的一位性格内向的密友，一位智慧巨人。哥德尔定理粉碎了逻辑最终将使我们理解整个世界的梦想，同时也引发了许多富有挑战性的问题。他证明了形式数论（即算术逻辑）系统的「不完全性定理」：即使把初等数论形式化之后，在这个形式的演绎系统中也总可以找出一个合理的命题来，在该系统中既无法证明它为真，也无法证明它为假。哥德尔最终在一家疗养院绝食而死，因为他认为那些食物有毒。 　　阿兰·图灵，恩尼格玛密电码的破译者，计算机科学 “人工智能之父”，同性恋者。图灵为证明一些永远不能被证实的事情而死，外界的说法是服毒自杀，一代天才就这样走完了人生。（献给本文所有伟大而孤独的悲剧英灵。喵喵驴驴译，错误之处烦请各位达人指正，谢谢。部分资料来源于网络。） 　　In this one-off documentary, David Malone looks at four brilliant mathematicians - Georg Cantor, Ludwig Boltzmann, Kurt Gödel and Alan Turing - whose genius has profoundly affected us, but which tragically drove them insane and eventually led to them all committing suicide. 　　The film also talks to the latest in the line of thinkers who have continued to pursue the question of whether there are things that mathematics and the human mind cannot know. They include Greg Chaitin, mathematician at the IBM TJ Watson Research Center, New York, and Roger Penrose. 　　Dangerous Knowledge tackles some of the profound questions about the true nature of reality that mathematical thinkers are still trying to answer today. see notes below:1 documentary, only split for technical reasons. broadcast in 1, watch in 1, get both parts, don't start to watch pt2 before pt1. 　　1 of 2 God's messenger 　　The film begins with Georg Cantor, the great mathematician whose work proved to be the foundation for much of the 20th-century mathematics. He believed he was God's messenger and was eventually driven insane trying to prove his theories of infinity. 　　Ludwig Boltzmann's struggle to prove the existence of atoms and probability eventually drove him to suicide. 　　2 of 2 The Enigma 　　Kurt Gödel, the introverted confidant of Einstein, proved that there would always be problems which were outside human logic. His life ended in a sanatorium where he starved himself to death. 　　Finally, Alan Turing, the great Bletchley Park code breaker, father of computer science and homosexual, died trying to prove that some things are fundamentally unprovable. 　　转自VeryCD

本片为第一部探讨西藏医学的纪录片。穿越北蒙古到北印度，纪录藏族治疗师如何治疗病人，到府问诊，彼此交换古老药草秘方的种种细节，企图探讨西藏医学所蕴含独特的佛学哲理与其独到药草疗效。并且辅以纪录对照在以色列及瑞士针对西藏医学所做的相关研究来测试西藏医学的疗效及其所使用的药草药物的可信度。

A microchip engineer explains something both familiar and unknown, but what exactly? His voice is soothing and distant in equal measure. As we go deeper inside a factory, the object is revealed: a smart contact lens. Though only a prototype for now, this lens corrects vision, displays a screen, and analyzes tears. Are we in Belgium, where the narrator is? Or Taiwan, where the factory is. In this fusion of prototype and place, what does it mean to create knowledge from tears? Or is knowledge ‘in tears’; grieving as it reproduces itself in a factory where the labor is half-automated and the end-user asleep.

"On Mathematical Grounds" provides a glimpse of life at one of the world's premier mathematical institutes, focusing on its activities, people and programs. The Mathematical Sciences Research Institute (MSRI) serves the world as a center for research and postdoctoral studies and as a focal point for the dissemination of new mathematics and its applications. Over 2,000 leading mathematical scientists from around the world visit MSRI each year. In addition to its research activities, MSRI hosts programs that inform the public and strengthen mathematical education from junior high through graduate school. Support for MSRI comes from government agencies such as the National Science Foundation, the National Security Agency and the Department of Energy; corporations and leading universities; private foundations; and the donations of private individuals.

无数的几何圆锥体汹涌而来。在暗棕色空旷的空间里，一位老者正焦急不安地坐在长椅上。他好像在等人，时不时地看表；又像是想马上离开，躲避即将发生的一切。突然间，从远方如千军万马呼啸而过的几何圆锥体，抢走了老人的帽子。 　　这部不足两分钟的超现实主义实验动画短片，是导演埃兰·希勒尔大学二年级的作品。埃兰一人自编自导制作完成了此片，短片的绘画灵感来自演艺界的吉恩·迈克尔。埃兰毕业于以色列国家艺术学院——比撒列艺术学院。学院融合中东和欧洲民族风格的艺术氛围，深深地影响了埃兰，在他的作品中皆有体现。

Gaspard, a teenager from the suburbs of Lisbon, falls into the hands of the Ogre, a man who has made a pact with the Devil. The Ogre uses the boy to attract tourists, whom he transforms into animals and then kills. Gaspard escapes with a donkey and a dog that he has grown fond of, and in an enchanted manor, he meets the spirit of Queen D. Maria I.

Gaspard, a teenager from the suburbs of Lisbon, falls into the hands of the Ogre, a man who has made a pact with the Devil. The Ogre uses the boy to attract tourists, whom he transforms into animals and then kills. Gaspard escapes with a donkey and a dog that he has grown fond of, and in an enchanted manor, he meets the spirit of Queen D. Maria I.