When teleÂviÂsion appeared in Japan in the 1950s, most peoÂple in that still-poor counÂtry could only satÂisÂfy their curiosÂiÂty about it by watchÂing the disÂplay modÂels in store winÂdows. But by the 1980s, the JapanÂese had become not just astonÂishÂingÂly rich but world leadÂers in techÂnolÂoÂgy as well. It took someÂthing speÂcial to make TokyÂoites stop on the streets of AkiÂhabara, the city’s go-to disÂtrict for high techÂnolÂoÂgy, but stop they did in 1990 when, in the winÂdows of Sony Town, appeared InfiÂnite EschÂer.
ProÂduced by Sony HDVS Soft CenÂter as a showÂcase for the comÂpaÂny’s brand new high-defÂiÂnÂiÂtion video techÂnolÂoÂgy, this short film caused passersÂby, accordÂing to the video descripÂtion, to “gasp in amazeÂment at the clarÂiÂty and sharp crisp focus of the picÂture.”
RunÂning sevÂen and a half minÂutes, it tells the stoÂry of a bespecÂtaÂcled New York City teenagÂer (played by a young Sean Lennon, son of John Lennon and Yoko Ono) who steps off the school bus one afterÂnoon to find M.C. EschÂer-style visuÂal motifs in the urban landÂscape all around him: a jigÂsaw puzÂzle piece-shaped curbÂside pudÂdle, a transÂparÂent geoÂmetÂriÂcalÂly patÂterned basÂketÂball.
When he goes home to sketch a few artisÂtic-mathÂeÂmatÂiÂcal ideas of his own, he looks into an awfulÂly familÂiar-lookÂing reflectÂing sphere and gets sucked into a comÂpleteÂly EscherÂian realm. This sequence demonÂstrates not just the look of Sony’s high-defÂiÂnÂiÂtion video, but the then-state-of-the-art techÂniques for dropÂping real-life charÂacÂters into comÂputÂer-genÂerÂatÂed setÂtings and vice verÂsa. In addiÂtion to the visions of the Dutch graphÂic designÂer who not just imagÂined but renÂdered the imposÂsiÂble, Sony also brought in two of the othÂer powÂerÂful creÂative minds, JapanÂese musiÂcian Ryuichi SakamoÂto to creÂate the score and KoreÂan video artist Nam June Paik to do the art direcÂtion.
WatchÂing InfiÂnite EschÂer today may first underÂscore just how far high-defÂiÂnÂiÂtion video and comÂputÂer graphÂics have come over the past 27 years, but it ultiÂmateÂly shows anothÂer examÂple of how Escher’s visions, even after the artist’s death in 1972, have remained so comÂpelling that each era — with its own techÂnoÂlogÂiÂcal, culÂturÂal, and aesÂthetÂic trends — pays its own kind of tribÂute to them.
RelatÂed ConÂtent:
MetaÂmorÂphose: 1999 DocÂuÂmenÂtary Reveals the Life and Work of Artist M.C. EschÂer
InspiÂraÂtions: A Short Film CelÂeÂbratÂing the MathÂeÂmatÂiÂcal Art of M.C. EschÂer
David Bowie Sings in a WonÂderÂful M.C. EschÂer-Inspired Set in Jim Henson’s Labyrinth
62 PsyÂcheÂdelÂic ClasÂsics: A Free Playlist CreÂatÂed by Sean Lennon
Based in Seoul, ColÂin MarÂshall writes and broadÂcasts on cities and culÂture. He’s at work on the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles, the video series The City in CinÂeÂma, the crowdÂfundÂed jourÂnalÂism project Where Is the City of the Future?, and the Los AngeÂles Review of Books’ Korea Blog. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
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