If you think Harvard is an animated place, you don’t know the half of it.Though it is not widely known, the University famous for literature, languages, and medicine also helped to pioneer the art of making still images appear to move.Sand animation got its start at Harvard (though artists in Switzerland were on the same sand-shifting track). And stop-motion clay animation — an art that has reached a zany zenith with the “Wallace and Gromit” films — had part of its start in Cambridge.Manipulating sand and clay to simulate motion were among the fruits of an animation program begun at the Carpenter Center in 1963. That was the year when Robert Gardner, a documentary filmmaker and longtime director of Harvard’s Film Study Center, hired animators John and Faith Hubley to teach.“I get bored of people saying: ‘I didn’t know there was animation at Harvard,’” said exhibit organizer Ruth Lingford. “And actually there’s this fantastic history.“Lingford, professor of the practice of animation in the Visual and Environmental Studies (VES) program, organized “Frame by Frame: Animated at Harvard.” The show of new and old work is in the Carpenter Center’s Sert Gallery through Sunday (Feb. 14).The show runs on seven screens and in two looping wall projections. It includes early work by sand animator Caroline Leaf ’68 (the magical “Sand, or Peter and the Wolf” from 1969) and Eli Noyes ’64 (whose “Clay, or the Origin of Species” drew an Oscar nomination for best animated short).Another legacy Harvard film on view, Frank Mouris’ nine-minute “Frank Film,” an autobiography in frenetic collage animation, won a 1974 Oscar for best short subject.Viewers get the long and short of animation, from the 18-second “Orgasm Loop” by Terah Maher, M.Arch ’06, to the epic (in animation terms) “Asparagus” by Suzan Pitt, a lavish 1979 production now considered a feminist classic. In the exhibit notes, Pitt wrote that she made a film that “flowed slowly forward like a daydream.”But even daydreams take time to create on screen. Animators old and new admit to the art’s time intensity, saying it is “insanely labor intensive,” as Lingford put it.For one scene in “Asparagus,” in which a woman watches a garden pass by as if it were a movie, Pitt recalled a 48-hour shoot at the Carpenter Center, “where I never slept or left the camera room.”Animation’s time sink cost the 1997 movie “Titanic” a summer release — six extra months because of production bottlenecks. In those days, a single frame required a rendering time of 72 hours. (For today’s “Avatar,” whose credits include almost 1,000 animators, rendering time is now down to 24 hours per frame.)Maher, an animation teaching assistant at VES who designed the “Frame by Frame” exhibit, said it took her six months to create her 18-second animation loop, though she was not working full time on it.“It’s not just cartoons,” said Maher, who fell in love with the art form while studying architecture. “Animation is much more.”For one thing, it is an art form that takes advantage of optical illusion. Still objects that vary slightly, when separated by a slight interval of darkness, appear to move.In her exhibit notes, Lingford called animation “freedom from restraints of the possible.” And Leaf, visiting the exhibit at a Feb. 4 reception, recalled that at Harvard in the 1960s animation was taught like “another creative art, like poetry or writing.”Charlestown animation designer and teacher Pell Osborn, founder of LineStorm.com, was a special student at the Carpenter Center in 1974-75, years that shifted his career path from French literature and playwriting to creating motion with still objects, drawings, or paintings.He chatted with Leaf at the reception. Both recalled how the Carpenter Center shimmered with creative energy. “The animation felt free,” said Leaf, now a London-based animation artist trying to break into oil painting. “Nobody was checking up on that.”Working at the 16mm Moviola editing machine was absorbing, Osborn said, but “you just felt this swirl of energy behind you,” as other animators worked with sand, puppets, and clay.Harvard’s old Moviola editing machine is on display at the exhibit. It’s a steel contraption the size of a Franklin stove with switches, buttons, pedals, and “exciter lamps” that evoke Jules Verne more than James Cameron. There are puppets too — doll-size models of plaster gauze and armature wire — from a work in progress called “Shapeshifter” by Lillian Fang ’10.Animation is even more than the liberation of art. It’s an expressive territory open to every academic path, said Lingford. “Animation includes acting, sound, music, painting, poetry, writing, physics, metaphysics — everything.”She is co-teaching a course this semester on animation for the sciences, along with two Harvard cell biologists. A similar course is under way at Harvard Medical School.“Harvard is the perfect place for animation,” said Lingford, whose work includes the eerie and erotic “Pleasures of War” from 1998. “Animation is such a meeting point of different disciplines.”Perhaps two or three VES students a year produce animation projects for their senior theses, she said. But many more use the art to supplement their scholarship, including students in biology and chemistry.“It’s quite a young art,” said Lingford of animation. “We’ve only scratched the surface of possibilities.” By design Animators old and new admit to the art’s time intensity, saying it is “insanely labor intensive.” Taking flight Perhaps two or three VES students a year produce animation projects for their senior theses. But many more use the art to supplement their scholarship. Animation at work Getting the point For today’s “Avatar,” whose credits include almost 1,000 animators, rendering time is now down to 24 hours per frame. Cutting edge Hsu’s piece is part of the show, which runs on seven screens and in two looping wall projections. Light touch Though it is not widely known, Harvard helped to pioneer the art of making still images appear to move. Up and coming Animation’s time sink cost the 1997 movie “Titanic” a summer release — six extra months because of production bottlenecks. In those days, a single frame required a rendering time of 72 hours. Jon Chase/Harvard Staff Photographer An eye for creativity “Frame by Frame: Animated at Harvard” will be on display at the Carpenter Center’s Sert Gallery through Feb. 14. In this particular series, Tiffanie Hsu ’09 received a Hoopes Prize for her work. What you see Animation is an art form that takes advantage of optical illusion.
Montpelier, Vt.- Governor Jim Douglas announced that Homeland SecuritySecretary Tom Ridge is making a total of $4,963,000 of fiscal year 2003grant funds available for local and state homeland security preparedness inVermont. The money is for domestic preparedness equipment, training andplanning.Governor Douglas said that Vermont’s Homeland Security Unit (HSU) would workwith all response organizations in the state to ensure that grant fundsreach the largest number of participants in the most effective manner.”Over the next 30 days we will be working closely with representatives fromthe U.S. Department of Homeland Security to finalize the details of thisgrant,” Douglas said. “These additional resources will allow our localfirst responders and state public safety units to be more prepared for avariety of public safety scenarios.”The Governor said that the Homeland Security Unit would be reaching out toall first responder departments to notify them of the availability of funds.The allocation is part of nearly $600 million that has been made availablenationwide by the Bush administration for local homeland security efforts.Vermont’s emergency responders will receive nearly $3.5 million forequipment. “Eighty percent of the equipment allocation must be passeddirectly through to local communities. The state’s twenty percent will beused to purchase, among other things, a hazardous material response trailerfor Southern Vermont,” Douglas said.The grant also includes $ 861, 000 for exercises, $261,000 for training and$348,000 for planning.The Department of Public Safety, Homeland Security Unit, will managedistribution of grant funds at the state level.Information will also be posted on the HSU website atwww.vthomelandsecurity.org(link is external) .
Let me preface this by stating that I had made a comment on Facebook, two weeks prior, about how the attention of a race should not be always on the front runners, but on those at the back of the pack as they are on their feet much longer and under the burden of making cutoffs. Without intention, this race would bring home to me what this really means as you will read in what follows and through my experience in directing The Hellbender 100 Miler. I am a runner and a human doing. I am not a being. I don’t sit still. I create opportunities and experiences that bring people together, create community, and share passion. I love people. I love you. I may not even know you, but if you were running this race, I would treat you like my brother or sister. You are family. My parents instilled in me to treat others as I expect to be treated. You are my equal and therefore I will care for you with every ounce of my love that you deserve. Everything was in place and I counted down to the race start. My intention was to sweep behind the last runners and pick up the course markings from the start to the first Aid Station. After that, Abby Harris, one of my lead race committee members, and I would drive to Curtis Creek Campground to see the leaders come through and make sure everything was ok and place some course markings. As we drove to the campground we chatted about the excitement of the race and the amazing community and team of people that make this event possible. From the last Aid Station at Neil’s Creek, the runners had the make the ascent up Mount Mitchell, the tallest peak East of the Mississippi. I knew it would be tough for some of the runners to make the cutoff, but I prayed for them that they would pull it out so they would continue on their journey. The seven O’clock cutoff loomed. I had never been present when a cutoff had to be made and a runner had to be told they could not continue. A few runners snuck in and out just ahead of the cutoff and four runners remained. The cutoff time came and went and still we did not see the four for which we waited. I walked to the parking area to watch for these runners, one a friend who had been having stomach troubles. When I stated that the back of the packers deserved just as much attention as the front, I absolutely meant it as well! This small exchange drove it home for me. I am sharing my passion and my love. I’ve surrounded myself with those who have the same passion and love for others in creating the unique experience we call The Hellbender 100 Miler. The story doesn’t end there as we traveled next to the Aid Station near the summit of Mount Mitchell where I would truly experience something that will remain with me for the rest of my life. I am the race director of the Hellbender 100 Miler, which includes some of the steepest summits in Southern Appalachia, including a climb up Mount Mitchell, the highest peak in the East. This year’s event would turn out to be a huge learning experience for me. The gentleman that had made me utter the words, “I am here for EVERY runner” came in and I had to break the news to him. He knew it before I told him, and I could see how much it hurt! I put my hand on his shoulder and told him how sorry I was. I had to walk outside, and I looked to the sky and told myself, I now understand better, what it’s like to chase cutoffs and be told you’ve missed the cutoff. It’s painful, awful, dejecting, and I would never wish it upon anyone! I didn’t have much time to recover from that exchange before my friend came in. I couldn’t hold back my tears as I knew how much this race meant to him. I embraced him more for my own selfish reasons than for his. I just wanted him to know how much I wanted this for him. How much I wanted to be able to hand him that buckle! Damnit, can’t I just let these guys go on!?! That wasn’t the worst of it! The first appeared and I walked to greet him and break the bad news. I told the runner I was sorry. He said it was ok he just needed to regroup, and he’d be fine. I then had to bite my lip again and tell him he had missed the cutoff. I saw the words register and it broke my heart. I wanted to give him a huge hug. I know it hurts to not achieve your goal, and I can’t imagine what it’s like when someone has to rip that goal away from you even though you’re in the condition to continue onward. We had missed the leaders, but with the use of the livetrails.net system, we could see what had transpired in our absence. When we arrived, the mid-pack runners were coming in. And again, Abby and I stayed until the very last runner came in. He sat in a chair with his gaze fixed on the ground and I squatted next to him talking about all that had gone on when suddenly he turned his head and looked me in the eye and he told me that no race director had ever stayed to see him, let alone help him at any Aid Station. He said that their concern is always for the front runners. I saw the sincerity in his eyes and that it truly meant something to him that I was not only there, but present (and by present, I mean on an emotional level) and with him in this journey. I had to bite my lip and hold back my tears. As I held his gaze, I told him, “I’m here for EVERY runner.” I meant it then, I mean it now, and I will always mean it. It wasn’t long after our arrival that the leaders came into the Aid Station and Abby and I worked side-by-side with our friends at the Aid Station to make sure the runners had what they needed. In and out the first male and female runners came through the Aid Station. Then something happened without intention. Usually the Race Director would move on to the next Aid Station to watch, but we stayed. The mid-packers came through, and we stayed. I knew so many of the runners, and it was great cheering them on and making sure they had what they needed for the tough climb and descent that lay ahead. Before we knew it, the last few runners were coming in, and we treated them just like the front runners. I tended to each. Filling water bottles or getting them food or taking their trash and giving them words of encouragement. Then they were off, and we continued on to the Neil’s Creek Aid Station. Aaron Saft is an elite trail runner, world-class ultrarunner, and founder of Foot Rx in Asheville. He is also member of the I HEART PISGAH Adventure Team. Learn more at iheartpisgah.org. As I stood the next day at the finish line, I tried to stay in the moment and enjoy the those that would cross the finish line, hear their stories, and respect their efforts, but in the back of my mind, I remember those that did not finish for whatever reason, and I write this for you all. YOU have my respect. YOU have my heart. YOU have my passion! May you cross that finish line in whatever you do next.
Press Association Hooper scored the opener in the 13th minute, smashing an unstoppable drive into the top corner, before Fer finished off a sharp counter late on to seal a 2-0 victory. West Brom had countless chances to take at least a point from this game with Stephane Sessegnon twice failing to convert great opportunities and Shane Long also guilty of being profligate in front of goal. It is now one win in nine games for the Baggies, and Steve Clarke’s side were booed off at full-time. The midweek hiding against a Luis Suarez-inspired Liverpool had put Canaries boss Chris Hughton’s position under further scrutiny, but he would have been delighted with the way his side responded here to secure an away win for just the second time this season. After starting brightly they took the lead with a wonderful strike from Hooper. Nathan Redmond fed Fer, who picked out the striker’s run with the aid of a deflection off Diego Lugano’s heel. The angle of the pass was taking Hooper away from goal but he fizzed a superb strike beyond Boaz Myhill. Albion sought a quick response with Youssouf Mulumbu, back from suspension, firing straight at John Ruddy after nice link play with Morgan Amalfitano. The Frenchman’s teasing cross from the right then saw Victor Anichebe get in a header which Ruddy gratefully grasped. Norwich were being penned in their own half but Johan Elmander should have done better from a quick break. The Swede’s flick on found Hooper, who quickly returned him the ball. However, Elmander then ignored his better placed strike partner as he drove forward and saw his shot blocked. The hosts were soon back on the offensive, with Ruddy tipping a fierce Anichebe shot wide of goal, before Sessegnon contrived to fail to make any contact with a Chris Brunt corner which found him unmarked. It summed up West Brom’s first half and Clarke made two changes at the break, bringing on Long and Saido Berahino for Liam Ridgewell and, surprisingly, Amalfitano. They helped spark Albion into a very strong start to the second half and they could have had a penalty when a Sessegnon shot, after a goalmouth scramble, struck Martin Olsson on the arm as he made the block. They should have been level in the 52nd minute when Sessegnon surged past two Norwich defenders into the box, but the Frenchman rolled his shot wide of the post having beaten the advancing Ruddy. At the other end Redmond’s pace proved too much to handle for Uruguay defender Lugano, whose vulnerability will doubtless be noted by England manager Roy Hodgson, but the winger’s pull-back could not find Hooper. Sessegnon then spurned another chance after Olsson had gifted the ball to him six yards out, with Ruddy making the save. Long became the latest man to miss for West Brom a few moments later. Mulumbu’s deflected shot fell to him in the area, but his shot was too tame to beat Ruddy. Mulumbu fizzed an effort wide but all the home side’s pressure came to nothing and they were punished as Redmond found Fer for the midfielder to cut inside and fire low beyond a flat-footed Myhill with a minute remaining. Norwich bounced back from their Anfield nightmare as goals from Gary Hooper and Leroy Fer earned them a valuable win over West Brom at The Hawthorns.