Intelligent Snowflakes and Tears

Photo by Wilson Bentley

Photo by Wilson Bentley

Man has failed to make snowflakes. His poor attempts at developing an ice process to replicate snowflakes continue to fail. The theory of evolution has also failed to make a new snowflake structure through “descent with modification” or “natural selection.” Snowflakes are still hexagon in nature and it will never change. Why? Could it be intelligently made?

I was fascinated by reading Wilson “Snowflake” Bentley’s work and looking at pages displaying his lifetime of snowflake photography. After viewing several hundred snowflakes, all of which were incredibly beautiful, I couldn’t help but conclude that none of the snowflakes were a mistake or randomly tossed together.

The closer you look at a snowflake, the more detail and beauty rises from its precisely crafted form, making it clear that it could not have been arbitrarily made. This coupled with the fact that the closer you look at something manmade, the uglier it gets with the imperfections showing through, makes my perspective easy to support.

Regardless of your beliefs, the theory of evolution can’t be proven using scientific guidelines:

  1. Testing the theory and the adequacy of alternative theories using questions that can be investigated empirically (experientially) through carefully designed and implemented observation.
  2. Link Research to Relevant Theory
  3. Use methods that permit direct investigation of the question.
  4. Provide a coherent, explicit chain of reasoning.
  5. Replicate (repeat the experiment) and generalize (repeatable by others) across studies.
  6. Disclose Research to Encourage Professional Scrutiny and Critique.

Since it can’t be scientifically verified, evolution is classified, not as fact, but as an unproven theory.

Intelligent Tears

Tears of Redemption

Photo by Rose-Lynn Fisher

The body does some pretty incredible things that we fail to appreciate. One of those things is the production of tears. We produce tears for various reasons including fear, joy, remorse, gladness, grief, and hope. Most of us understand the difference between those emotions, but we don’t typically know that the design of our tears varies based on the emotion behind them.

In The Topography of Tears by Rose-Lynn Fisher, the series of duotone photographs of captured tears is eye-opening. The photos were shot using a glass slide. Teardrops of various emotions were captured, placed on slides, dried, and then photographed through a high-powered microscope to see the differences.

The images shot of joy-based tears were beautiful. The once shot of anger produced tears were dark and haunting. The actual makeup of the tears correlated to the emotional reason the tears were generated.

The complexity of our lives during a major change was reflected in the tears of someone experiencing a life-altering change. The image was just as blocky and complex as the person’s life. The person experiencing hope produced tears that reached outward. The most beautiful tear structure was that of redemption. The second most beautiful came from compassionate tears.

Our tears are not accidental or random. Thanks to the photographs I saw, I can say that our tears reflect exactly what we are going through. Even the tears produced by a person peeling an onion showed a significantly different pattern than those produced from an emotional experience.

Ordered Lives

After reflecting on the unwavering order in snowflakes and our tears, I’ve concluded that our lives should also have order. However, while intelligence beyond our ability was involved in the creation of snowflake and tear order, we are the intelligence that determines the order of our lives. Our daily order is determined by our choices.

To develop a healthy life order, we must first know ourselves. We must learn what makes us happy and what disciplines we need to alter our chaotic path and turn it into a straight, narrow path that leads to our success.

I’m a creative person who draws in all kinds of disparate information, then uses it to produce some form of entertainment that causes others to reflect or emote. Over time, I’ve realized that I’m most creative in the morning and an order of life that can facilitate creative expression would be best scheduled early in the day.

I have a friend who is very analytical. In fact, he gets more detailed oriented as the day progresses. He sets all of his meetings early in the day when he is less critical, for the sake of his team members, and schedules all of his analytical work in the afternoon when he is at the top of his game.

How we order things is not limited to schedules. Sometimes our order of importance plays a big role in relationships. How we organize our closets or make our bed every morning also plays a role in the order we give our life. Whatever the order is that we face, the discipline it takes to fulfill our order drives our success. Without order and the discipline to enforce our order, we fall short of our goals.

I’d like to encourage you to take time this week to review the order in your life. Whether it’s how a room is organized or to make sure your personal priorities aren’t being trampled on by others, establish an order that you’d like to try for the next 90-days to see if you become more successful. I’m doing it—join me this quarter and let me know how it goes.

Copyright © 2020 by CJ Powers

 

 

 

The Christmas Truce of 1914

Christmas_Truce_1914.jpgA bullet split through the frozen ground and ricocheted into the trench. The British soldiers shifted position, their feet stirred the sloppy straw-laced mud as they found their footing to return fire. None of the World War I soldiers wanted to spend their Christmas Eve dodging bullets. They preferred thinking about their loved ones back home and the traditional celebrations handed down through previous generations.

Lifting binoculars to his eyes, Captain Sir Edward Hulse kept a keen eye on the Germans. The 350-400 yard no-man’s-land between the British and German trenches reduced the number of casualties and made any form of pursuit suicidal. Captain Hulse knew the battle would be drawn out and slip into Christmas Day.

When the British soldiers stood for arms at six o’clock that prominent morning, the number of shots taken were greatly reduced from the previous day. By eight o’clock, only a few scattered, single shots could be heard off to the side where the border patrol stood watch. The main fighting zone held a natural truce that was neither dictated by the British or the Germans. The eye’s of the soldiers reflected a sense of peace that morning, allowing each one to ponder gratitude for the good within the lives of their families.

Germans Extend Grace

Captain Hulse was startled by movement out of the corner of his eye. He lifted the binoculars and spied four Germans who had climbed out of their trenches and headed toward the British.  None carried weapons. He watched as they slowed to a stop in the middle of no-mans-land, making sure not to cross into British territory.

Captain Hulse wondered what message they might have carried and quickly ordered two men to meet the Germans in the middle unarmed. None wanted to take such a risk on Christmas, forcing Captain Hulse to climb out of the trench and traverse the frozen ground alone. The walk felt longer than it was, knowing that 100,000 or so men from both sides were watching every step he took.

The Captain was greeted by three privates and a stretcher bearer. One German shared how they felt compelled to wish the Captain and his men a happy Christmas. The four Germans had put their lives on the line, trusting the British to keep the unstated truce. The German spokesperson shared that the men personally had no feeling of enmity against the British, but they were soldiers who had to obey their superiors.

The conversation became complex as the Captain and soldiers discussed the terrible wounds made by the rifle bullets. They all agreed that the high-velocity bullets with a pointed nose were designed to inflict wounds at short range. They also agreed that the old South African round nosed bullets made a cleaner hole. The conversation continued for a half hour, at which time a German, who saw great similarities between men, suggested that both sides return unarmed in the afternoon to the no-mans-land to celebrate Christmas.

Christmas Party for All

Later in the afternoon, a large group of unarmed Germans entered no-man’s-land. One of the German snipers led his fellow soldiers in the singing of Christmas carols, while they watched the unarmed British move toward them. Soon they sang a chorus or two of O Tannenbaum and the British joined in with the English translation of O Christmas Tree. The men marveled at their unified ability to sing the same song with different words. Laughter and handshakes followed.

The party lasted a couple hours and many exchanged gifts, based on what they had on them at the time. Some exchanged pipe tobacco, cigarettes, pens, pins, alcohol, and other small paraphernalia. Everyone had a merry time.

A 19-year-old private named Henry William Williams smoked a pipe during the party that was given to him by Princess Mary. In the pipe was German tobacco gifted to him from one of the enemy soldiers. They had met after a joyous chorus, shook hands and exchanged gifts or souvenir trinkets. Both gifts were heartily received.

When the day grew short, Captain Hulse ordered his men back to the trenches.

An Extended Truce

The Germans promised that they would maintain the truce indefinitely. Captain Hulse said that the truce had ended, but the Germans persisted that they would not continue the fight unless the British fired first. The Captain clarified the end of the truce and continued walking back to the trenches. A short time later a few British soldiers took plum pudding to the Germans, received thanks, and returned to their trenches. Not a single shot was fired for the rest of the evening. Neither side wanted to fire on the men that they had met personally.

The night watch hours were also silent. Not a single weapon was raised against the opponent. The men were comfortable in the aura of peace that had befallen all soldiers. Several men wrote letters to their mothers during the still of the night, speaking highly of the men they had met and the miracle truce that transpired. Those writing letters never fathomed how their letters, years later, would testify to the Christmas miracle—thanks to World War I historians that documented the war efforts.

Not a single man was willing to break the miraculous gift of the truce that surpassed their understanding. They embraced the silent night with thankfulness in their hearts.

Relieved

Quietness filled the wore-torn battlefield late into the evening. The Grenadiers arrived and relieved the British soldiers. By first light, the Grenadiers stood and fired upon the Germans. A new battle had broken out and thousands of lives were lost. But the miracle story of the truce was remembered and retold every year by those who understood the power of Christmas and the joy of those who participate.

Copyright 2018 by CJ Powers

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Is The Book Or Film Better?

Book vs. FilmThe number of scripts I receive for consideration or review every year is astounding. Each of the major studios receive about 100 scripts a day and 99% of them are not worth reading. The biggest dilemma I face comes from the author. Most of the scripts I receive are from talented literary authors trying to write a screenplay, which seldom goes well.

The first problem that I typically encounter is the author using detailed and flowery words in long-winded descriptions, as if it were lifted right out of a novel. Few authors understand that the screenplay is written in a specific manner for budgeting and creative purposes, and obviously, for the screen. Here is a scene example that I’ll use to discuss the differences:

NOVEL

“Adrenaline pumped through David’s veins as his pace quickened toward the lone grave hidden beneath the canopy of large oak trees deep within the forest. His soiled gym shoes stopped in front of the fresh pile of dirt rounded over like a grave before rain settles the soil. David’s face aged 10 years in that moment and his legs weakened. He dropped to his knees with sorrowful eyes, knowing that he might be facing his daughter’s burial site. His hands looked like gnarled creature paws as he stroked away at the soil, digging deeper and faster with a weak hope of finding an animal in her place.

But he knew the truth. His hands would soon find his kidnapped daughter. He readied himself for the sight, as he plotted a new vision for revenge. His hand snagged a piece of material. The same as the dress his daughter wore at her seventh birthday party, the night she was kidnapped. David’s face flushed and turned stone cold. A fiery revenge welled within his soul forcing him to his feet. “I’m com’n for yah,” he groaned. With more energy than he thought possible, David bolted through the woods focused on his target.”

SCREENPLAY

EXT. FORREST – DAY
Exhausted, David scrambles through the forest. He stops at a fresh grave. Grimacing, David drops to his knees. He paws through the soil. David stops, hardens himself and glances off in the distance.

DAVID
I’m com’n for yah.

David runs from the grave, letting a streak of sunlight hit the floral cloth protruding from the soil.

PRODUCTION TOOL

The same overall action occurs in both depictions of the scene. The screenplay version is measured at 2/8 of a page, which tells the production manager how long the segment will take to film and how much it will cost. The word choices within the screenplay suggest the needed shot list to capture the story. The list includes:

  • XLS: David running in forest
  • MS: David panting as he runs
  • CU: David’s gym shoes stop at the grave
  • MS: David drops to his knees
  • MLS: David kneels at daughter’s grave
  • CU: David
  • CU: Hands digging
  • MS: David’s dialogue
  • LS: David running away from grave
  • XCU: Dress protruding from grave

With the scene being 2/8 of a page, the DP and 1st AD know they have to capture the full shot list in an hour to stay on budget. If, however, the scene were written like the novel, it would take 4-6/8 of a page and the team would allow 3-4 hours for the shoot. Unfortunately, the scene will still only take 15-20 seconds on screen, making the novel version far more costly to shoot—forcing the project over budget.

When properly written, a screenplay reveals the shooting schedule, budget, and camera shots.. It also hints at the character arcs and the emotional tonality the actor must consider when developing his character. There are also hints sewn into the script about the editorial pacing and tempo.

A person who knows how to read a professional screenplay can easily spot the above. But the novelist has no clue what information must be laced into the scene or how to concisely interweave it. Most don’t understand how this scene is likely to be shot handheld because of the story’s emotional turmoil and shooting schedule.

Beginning screenplay writers find themselves writing something halfway between the novel and professional screenplay, which inaccurately reflects the shoot requirements with information that cannot be seen on screen. A screenplay improperly written becomes a useless tool for the producer and production team. The better the screenplay writer, the more accurate the budget.

BOOKS ARE NOT FILMS

A second factor I face with authors is their misguided understanding of what makes for a good film versus a book. The original story allows the reader to get inside of the protagonist’s head, while the film can only show what happens, unless you like a lot of narration, which slows a film down and pulls the viewer out of the film story.

Books are about thought and films are about action. They are two different mediums and must be treated according to its own form. While most authors feel disgruntled about having their story altered to better fit the medium, they hate with a greater magnitude films that try to follow the book and end up destroying the story as a result.

The vast majority of great authors have to get used to seeing their “A” plotline become a “B” plotline in a movie, and their “B” plot become the “A” plotline. This inverted plotline structure makes for a far greater motion picture, and opens the story up to a wider audience than what the book was aimed at. Since movies cost a lot more than a book to create, this distinction is significant.

While there are additional factors that authors face when transitioning their work to the screen, I’ve run out of room to mention them in this post. The key is to understand that film and books are very different and require opposing skills to pull off. Flexibility is paramount for the author desiring a shot at the silver screen.

© 2018 by CJ Powers