{"id":80395,"date":"2018-04-13T00:00:01","date_gmt":"2018-04-13T00:00:01","guid":{"rendered":"http:\/\/www.thevisualist.org\/?p=80395"},"modified":"2018-04-12T04:50:00","modified_gmt":"2018-04-12T09:50:00","slug":"prototype","status":"publish","type":"post","link":"http:\/\/thevisualist.org\/2018\/04\/prototype\/","title":{"rendered":"Prototype"},"content":{"rendered":"<p>As the 1900 hurricane\u2014the deadliest natural disaster in US history\u2014strikes Galveston, Texas, a mysterious televisual device projects images of an unknown origin. Texas-born, Toronto-based Blake Williams\u2019s experimental 3D film immerses the viewer in remarkable and mysterious images of a world nearing destruction. While expanding cinematic language from early 3D experiments to the cutting-edge technology of today, it expands the environmental havoc caused by that hurricane to the potential catastrophes that face us now. Called the most significant 3D film since Jean-Luc Godard\u2019s Goodbye to Language by the Village Voice, Prototype is a virtuosic visual delight that pushes the boundaries of cinematic language. Preceded by Red Capriccio, an earlier eye-shattering anaglyph 3D short.<\/p>\n<p>(2014\u20132017, 70 min., 3D DCP)<\/p>\n<p>Co-sponsored by Channels: A Quarterly Film Series<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the 1900 hurricane\u2014the deadliest natural disaster in US history\u2014strikes Galveston, Texas, a mysterious televisual device projects images of an unknown origin. Texas-born, Toronto-based Blake Williams\u2019s experimental 3D film immerses the viewer in remarkable and mysterious images of a world nearing destruction. While expanding cinematic language from early 3D experiments to the cutting-edge technology of<a href=\"http:\/\/thevisualist.org\/2018\/04\/prototype\/\" class=\"read-more\">Continue Reading<\/a><\/p>\n","protected":false},"author":6,"featured_media":80396,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[55],"tags":[182647,182646,397,89397,182645,69996,4914],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"http:\/\/thevisualist.org\/wp-content\/uploads\/2018\/04\/13-Apr-2018__Prototype__Logan-Center.jpg","_links":{"self":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/80395"}],"collection":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/comments?post=80395"}],"version-history":[{"count":1,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/80395\/revisions"}],"predecessor-version":[{"id":80414,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/posts\/80395\/revisions\/80414"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/media\/80396"}],"wp:attachment":[{"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/media?parent=80395"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/categories?post=80395"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/thevisualist.org\/wp-json\/wp\/v2\/tags?post=80395"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}