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Athletes without extreme cold weather experience have to participate in a winter training course. For this course is re-designed. Most of the parts that normally would have taken part indoors in the Yukon will now be dealt with in the months leading up to the race and via online meeting. The outdoor part of the course that involves, among other things, testing and working with gear still takes place in Whitehorse, from January 29th to 31st.
Another change is that the course consists of several modules.
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These stellar instances, riven from context with sound intact—ambient hums, grand orchestral scores, pedantic explanations, dreamy speculation—are magical fields of darkness sprinkled with possibilities. A subject difficult if not impossible to accurately photograph on film, we are therefore greeted again and again by the varied interpretations of the starry night by matte artists and special effects wizards, gazing now in stillness, now in careening motion across or into space at incandescent nebulae, distant twinkling dots, and the black void in-between.
These are the rare moments when the movie audience, backs to the projector, in fact faces light projected at them: Our eyes are the screens for the cinema of the stars. Few things in the universe have enthralled, perplexed, and inspired such a diverse group of people, from astronomers and philosophers to artists and ordinary people walking at night. Lurf playfully shows how cinema turned the stars into endless metaphors, dreams, and warm blankets.
There is no story or characters — only movie scenes worked together outside of their contexts. The editing enthralls us as space is not depicted the same in every clip. No landscapes, not even trees or roofs. A cloud or a satellite perhaps. No subtitles either.