Bar-बार βάρ-Bar
barbarian: /bɑː(ɹ).ˈbeə(ɹ).i.ən/, medieval latin barbarinus (“Berber, pagan, Saracen, barbarian”), latin barbaria (“foreign land”), from barbarus (“foreigner, savage”), ancient greek βάρβαρος (barbaros, “foreign, strange”), onomatopoeic (mimicking foreign languages).
बार-बार: /bɑɹ.bɑɹ/, hindi, "repeatedly"
What do you see in a mirror? It is a dichotomy: your self; a reflected self. What you are seeing is a resolution of two images: the way you appear to others, and the way you see yourself reflected. We have adapted to resolve this conflict, which is immediately apparent in, say, a barber-shop or a hall-of-mirrors. The Canon G11 has an option to flip the image viewed in the LCD screen when rotated 180 degrees. The same reason underlies why video chat mirrors the image presented to you while preserving the original stream to who you talk with. Watching yourself unmirrored in real-time is unnerving. Try it.
This video was made using a Hasselblad 500C/M, a Canon G11 and a mirror.
The Hasselblad was originally advertised thus:
The viewfinder is ground glass resting above a mirror angled at 45 degrees. Upon viewing without a prism, one sees the world reflected.
Here you see the Hasselblad with its viewing port open. On the lower left is the Canon G11. Claudia Rossini holds a mirror at center right.
Here is another view, shot by Juan-Pablo Villegas Delgado:
The Canon G11, while recording video, is placed atop the viewing screen of the Hasselblad and pointed at a subject through a mirror reflection. Claudia stares at the lens of the Hasselblad; she sees herself peripherally within the mirror. Ad additional mirror was placed to the right of the Hasselblad-Canon setup for her ease. The LCD screen of the G11 was turned around to allow Claudia to see herself in one more way. Since the G11 allows the LCD image to be flipped or not, both were tried out. She was thus surrounded by images of herself in a number of affine transformaions: reflected, rotated, preserved, scaled.
Here is Juan-Pablo Villegas staring at Claudia:
Since there are two reflections involved here, one of the Hasselblad internal mirror and one of the external mirror, the video recorded by the Canon is the unreflected self of the actor. The performance was rehearsed a few times. The actors involved thus knew of what the final result would look like; the way they appear to everyone else.
This knowledge of the final product, is the third image that this performance introduces into the actor's mind. The adaptation written about earlier now has to grapple with a third variable: one of memory, of anticipation of the immediate future, of the animated chimp.
Venice, 2010
बार-बार: /bɑɹ.bɑɹ/, hindi, "repeatedly"
What do you see in a mirror? It is a dichotomy: your self; a reflected self. What you are seeing is a resolution of two images: the way you appear to others, and the way you see yourself reflected. We have adapted to resolve this conflict, which is immediately apparent in, say, a barber-shop or a hall-of-mirrors. The Canon G11 has an option to flip the image viewed in the LCD screen when rotated 180 degrees. The same reason underlies why video chat mirrors the image presented to you while preserving the original stream to who you talk with. Watching yourself unmirrored in real-time is unnerving. Try it.
This video was made using a Hasselblad 500C/M, a Canon G11 and a mirror.
The Hasselblad was originally advertised thus:
The viewfinder is ground glass resting above a mirror angled at 45 degrees. Upon viewing without a prism, one sees the world reflected.
Here you see the Hasselblad with its viewing port open. On the lower left is the Canon G11. Claudia Rossini holds a mirror at center right.
Here is another view, shot by Juan-Pablo Villegas Delgado:
The Canon G11, while recording video, is placed atop the viewing screen of the Hasselblad and pointed at a subject through a mirror reflection. Claudia stares at the lens of the Hasselblad; she sees herself peripherally within the mirror. Ad additional mirror was placed to the right of the Hasselblad-Canon setup for her ease. The LCD screen of the G11 was turned around to allow Claudia to see herself in one more way. Since the G11 allows the LCD image to be flipped or not, both were tried out. She was thus surrounded by images of herself in a number of affine transformaions: reflected, rotated, preserved, scaled.
Here is Juan-Pablo Villegas staring at Claudia:
Since there are two reflections involved here, one of the Hasselblad internal mirror and one of the external mirror, the video recorded by the Canon is the unreflected self of the actor. The performance was rehearsed a few times. The actors involved thus knew of what the final result would look like; the way they appear to everyone else.
This knowledge of the final product, is the third image that this performance introduces into the actor's mind. The adaptation written about earlier now has to grapple with a third variable: one of memory, of anticipation of the immediate future, of the animated chimp.
Venice, 2010