YouTube Premium (coming soon)The Dot and the Line: A Romance in Lower Mathematics(1965)
A cartoon detailing the unrequited love that the line has for the dot, and the heartbreak that results due to the dot's feelings for the lively squiggle.
Directed by Chuck Jones
A cartoon detailing the unrequited love that the line has for the dot, and the heartbreak that results due to the dot's feelings for the lively squiggle.
Flatland is a two-dimensional universe occupied by living geometric figures - squares, triangles, circles, etc. A Square, Attorney At Law, finds himself in the middle of two upheavals: the rise of martial law by the circular leadership of Flatland, and the arrival of A Sphere, CEO Of Messiah, Incorporated, a creature from a hitherto-unknown third dimensional world.
Set in a world of only two dimensions inhabited by sentient geometric shapes, the story follows Arthur Square and his ever-curious granddaughter Hex. When a mysterious visitor arrives from Spaceland, Arthur and Hex must come to terms with the truth of the third dimension, risking dire consequences from the evil Circles that have ruled Flatland for a thousand years.
Jarnow adapts an architectural grid catalogue of cubic rotations in order to explore a direct relationship between animation procedure and logical numerical operations. The film is as much the making of animation as it is a paper model of a computer. The cube sheet, upon which the film is based, is so constructed that a horizontal cubic rotation and a diagonal pan yields a diagonal rotation. Combinations of these primary moves result in more complex rotations throughout this awe inspiring film.
Zdeněk Miler's animation short about geometrical shapes.
An experimental animation for "One of These Days" by Pink Floyd.
Jarnow regularizes a child's primitive sketch of a house into increasingly firmer architecture, showing how the same place might by rendered by different hands. Objects twist and turn, a drawing resolving into a wall painting, as the perspective shifts, boxes within boxes, until the viewer is back outside.
In what would become a familiar theme throughout his carrer, Jarnow explores the earth from above, invoking Buckminster Fuller's Dymaxion and the Gnomic map to illustrate different geometric and compromise projections.
The primary motif in this silent picture is a grid that controls the shapes and motions of forms contained within the framework of a rotating cube. Constructed from interlocking cycles, the film explores branches and loops along paths laid down by geometric logic.
