The gamecock. (Columbia, S.C.) 1908-2006, January 22, 1979, Page Page 7, Image 7
Rund
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Holoqr
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By Mark Chevalier
Gamacock Staff Writer ..
Within the arts, and especially in
art criticism, there has always
been a full and joyous embrace of
the avant-garde. This love of the
new and innovative has often been
more the fabrication of the critic
and less the nature or content of
the art object itself. Yet I am fairly '
confident in proclaiming the wa
Columbia Museum of Art's new *
show, "Holography; Through the
Looking Glass," as a truly new and rej
innovative collection. .j
What we have here is perhaps
the supreme merger between j;
science and art, although at this p
stage it is considerably more J
science than art. One must eli
remember that holography, even
as a science, is a product of recent 1
history. It was discovered by Dr. it.
Dennis Gabor in 1947, but it wasn't ?xl
until the early 1960s that Hg'
holography began to expand and j
develop. sp.
In relation to the a^ts, sjr
holography is but a newborn child.
It has been just slightly over two
years since the Museum of I
Holography in New York City Ca
opened its doors. This museum, dej
incidentally, is responsible for pre
assembling this exquisite str
exhibition. pel
gren:
Follow
^ decided i
w two-lp S(
. -}wk friends,
: recreate
^ / showcase
\ / TOBai notable e
hBh finale of i
\ ? *QV is likely i
V J Live LP
s?" * without ii
1? T The otl
IK I, are the e:
HB " his only
'-'mm' ' * v
\ Anything
aphy..
\ HOLOGRAM IS CREATED by
? splitting of a single laser beam,
Tltoimrf r?i* L.'- ? ?
1U91H5 it- au Liiai UIIC UCitlll Will
mpletely cover the highly senive
photographic film, while the
ler will illuminate the object to
recorded. Because both beams
trie from the same light source,
d laser light is light of a single
ve pattern, the only variation in
ve patterns come from the light
lecting off the object being
uminated. These erratic
lective waves then combine
fh f hn npi<tinol moim
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on the photographic film, thus
)ducing the holographic image.
decent developments have
minated the necessity of
>roducing the hologram by way
.he same laser light that created
All of the holograms in this
libition function with normal
ht, either reflective or internal.
holograms actually exist in
ace; thus one is not limited to
nply a single view, but a
iltitude of vista points.
n works such-as "Simon With
mera" or "Kiss II," the full 120:?ree
view is present, from
lfilf* t ft nrnfiln HHinrp
w ^/lUIIIV. V7V1IV/1 O UClllUll*
ate a complete 360-degree exrience,
such as "Whipped
By Wayne Doleski if
Gamecock Staff Writer Si
ing eight superb solo albums, Todd Rundgren
to do a retrospective of his career in the form of a
it. To do this, Rundgren assembled a group of old fr
as well as his present group, Utopia, and tried to sh
the magic of the past. He booked a brief club B;
i, and these shows were to become the live album. U
th
initial shows were smashes, and Rundgren so wl
hem that he added another month of club dates. I th
17 oriAllffK frt ^4 XT ? xr 1_?? 11
If VllVUgll w occ linn <*i itew iorK s Bonom Liine, so
c to the Bars is successful in capturing the ex- of
of that show. Back to the Bars has a few problems, ar
i are more than offset by the energy contained
y fan of Rundgren's is sure to find more than Fi
material here to warrant the price of the album, a of
.98 list. m
ha
lg selection, though flawed, is excellent. With two ha
is, the album is a superb "greatest songs" al
m doesn't have enough hits) package, as it ha
>s all the phases of Rundgren's solo work. Hie most hi
xception is "Just One Victory," which isthe grand so
my Rundgren concert. The exclusion of "Victory" qu
due to its inclusion on Utopia's ill-fated Another Ri
. Regardless, any retrospective is incomplete
t. fo
ler disappointments in the selection of material in
^elusion of "We Gotta Get You a Woman" (one of co
hits), and any material from Rundgren's most Cc
bum, Hermit of Mink Hollow. Oddly enough, he A1
ing songs from Hermit at the live shows, which dg
le wonder why they were not included. re
? on the album is more important than what isn't, st;
collection of 23 of the best songs by the pop rock ha
our time. Rundgren offers only one song from his
albums, a marvelous version of "Range War," th
incer Davis on harmonica. The other albums cr
ed a more generous sampling, including five songs fa
undgren's most popular album, Something- th<
. Included in that group is one of Rundgren's bi
...the fui
Cream" or "Cable Car." All and build with ther
all the space is there, and you'll equate this
believe it. photographic si
it must have I
Aesthetically the work is weak, first time a \
and investigation is presently world on paper
directed toward the illusion itself, the image was,
rather than the significance of the alone was the n
illusion. This is surely how all of here again, not
the arts began, for one must in- but *n refll sPa
vestigate his tools before he can This is on
| RH f re
Monday, Jan. 22: The Smallest Show on Eartl
(England, 1957), a little-known Peter Sellers comedy
features him as a drunken and inept projectionist
The theatre, built on top of a subway that rocks th<
audience out of its seats with each Dassina train. i<
the most run-down in the British Isles. But it is n<
more decrepit than the Tom Mix and Ken Maynarc
movies ? or the cashier-candy seller (Margare
Rutherford). The new owners of this palace (Bil
rn ' 1 " " ~
iravers ana Virginia McKenna of Born Free) thinl
the shows will be better if they run the projectoi
themselves, but, to the audience's dismay, things gel
worse. Basil Dearden directed. 84 min. 7 and 9:3(
p.m.
Tuesday, Jan. 23: Rebecca (U.S., 1940). Alfred
Hitchcock's elegant first American film is not a
suspenser exactly, but it is a scary adaptation of
Daphne du Maurier's novel. Judith Anderson is the
? ?? - ? r
'Bars'
jnored classics, "Couldn't I Just Tell You," formerly a
iaple of any good bar band.
The only non-originals on the album are the soul medley
om "A Wizard-A True Star," in which Rundgren superbly
tows Linda Rondstadt how to do a cover of "Ooh Baby
aby," which he did five years ago. There is only one
topia tune included, "Love in Action," which we can be
ankful for. Utopia tends to get lost in cosmic wanderings,
lile Rundgren's solo work has generally been concise, toe-point
pop rock. Back to the Bars avoids the long, boring
los that characterize many live albums, as well as much
I TfnniD 'c u/nrlr Incfon<4 - II-.? * ? * "
?I .. v/.?. >notv.ou, uicsc live cuis are iuii ot energy
id life, with no wasted time.
Two of Rundgren's more recent albums, Initiation and
lithful, are the most representative of the various phases
his career. Perhaps there is an emphasis on this recent
aterial to show Rundgren's critics that the past few years
ve seen him produce some of his best work. Sure, Utopia
s put out a lot of junk, but Rundgren's solo work has
ways risen far above that mediocrity. The last few years
ve seen many critics accuse the former bov wnnrfpr of
v*
tting the skids, which is not true. Without exception, his
lo albums have contained moments of brilliance. This
ality may have been erratic, but it has never escaped
indgren.
Rundgren has a loyal legion of fans who seem to be
rever claiming that he is a genius who continues to labor
near obscurity. These fanatics argue that Rundgren
ntinually puts out ignored classics, such as "Love of the
>mmon Man" and "A Dream Goes On Forever," while
VI radio promotes groups like Boston and Styx. Runren's
albums generally sell around 200,000 copies,
gardless of their quality. His audience seems to have
ignated, though the recent Hermit of Mink Hollow may
ve attracted a few new believers.
Warner Brothers, Rundgren's label, was ecstatic to hear
at he was planning a live retrospective. To Warner's
41 *
cuii, uiey view nunagren as an exceptional artist who has
iled to gather his deserved recognition. Warners views
e new album as their chance to break Rundgren into the
g time. Back to the Bars is receiving a solid
See RUNDGREN, page 9
ture today
n. One could easily breaking rays of an expression that
to the first will surely he demanding not only a
low. What a wonder place among the other established
>een to see for the arts, but perhaps even an exirtual
copy of our pansion in both art criticism and
. No one cared what evaluation.
because the image
tiagic. Well now it's
on paper this time. t? ?"
a ill uugll UIC LAAIMIl^ Vllitbb
ce- runs through February 11. Take a
ly the first few look at the future ...
ae films 1
i housekeeper of Laurence Olivier's mysterious estate,
, and she is obsessed with a bizarre love for his
deceased wife, Rebecca. When Olivier marries timid
j Joan Fontaine, Anderson tries to run her off, mainly
$ by browbeating her and by spookily appearing from
> nowhere when she least expects it. Brooding Olivier
I and his brooding mansion do nothing to helD ooor.Tnan
t ? or us ? cope with the terror. Oscar: Best Picture.
I 115 min. 7 and 9:30 p.m.
Wednesday, Jan. 24: Professional ruabv is the
DacKdrop for This Sporting Life (England, 1963)
> starring Richard Harris and the first film of director
Lindsay Anderson (If..O Lucky Man). Harris is a
coal Timer who becomes a rugby hero, but he
glion of 00 l; 1? 5 '** *
u..v..?iva mc wuiuan 01 ins cnoice (Kacnel Roberts).
The Academy nominated both Harris and Roberts for
Oscars, and the New York Times called it "a
smashing victory." 126 min. 7 and 9:30 p.m.