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Simon, unabhängig von der hier angesprochenen Thematik frage ich mich des öfteren, was bei dir wohl schiefgegangen ist im Erkenntnisapparat. Eine 'quantitative Lüge'... Eine weitere solche wäre dann wohl zweifelsohne, dass mechanische Toleranzen im μm Bereich bei der Filmprojektion Auswirkungen bei einer 10m hohen Leinwand haben können. Wie sollte das gehen, 'Ey, guck mal wieviel mehr 10METER gegenüber EINEM μm sind'... - Carsten

Das gehört einerseits nicht hier her - und ist andererseits hanebüchener Schwachsinn und darf nicht unwidersprochen stehenbleiben. Es geht nicht darum, wo Pflanzen gedeihen, sondern um die Absorptionseigenschaften von Kohlendioxid. Dass der Anstieg der Konzentration von Kohlendioxid die Erderwärmung beschleunigt, ist ein Effekt, der in der Wissenschaft unwidersprochen ist.

Bevor hier Propaganda der amerikanischen Öl-Lobby verbreitet wird, erst Mal - wie eigentlich immer - auf Wikipedia recherchieren. https://de.wikipedia.org/wiki/Treibhauseffekt Dort wird erklärt, dass der Treibhauseffekt 1824 entdeckt wurde, was der Unterschied zwischen Treibhauseffekt und Glashauseffekt ist, und welche Mechanismen dem anthropogenen Treibhauseffekt zu Grunde liegen. Alternativ könnte helfen, sich als Gasthörer in Strahlungsphysik einzuschreiben.

Dem (noch jungen) Filmvorfuehrerforum voraus sind aeltliche Herrschaften. Sie machen sich nicht laenger laecherlich, wie wir es hier tun. Frei von Religion und Marketing, dann klappt es auch mit der Erkenntnis. “Cinema is gone,” Scorsese said. “The cinema I grew up with and that I’m making, it’s gone.” The filmmaker elaborated: The theater will always be there for that communal experience, there’s no doubt. But what kind of experience is it going to be? Is it always going to be a theme-park movie? I sound like an old man, which I am. The big screen for us in the ’50s, you go from Westerns to Lawrence of Arabia to the special experience of 2001 in 1968. The experience of seeing Vertigo and The Searchers in VistaVision. (...) Ridley Scott, director of Alien, Blade Runner, and Gladiator, expressed a similar sentiment to Digital Spy last week. “Cinema mainly is pretty bad,” Scott said. While there’s a tinge of “Get off my lawn!” to these comments (Scorsese and Scott are 79 and 74, respectively), the filmmakers have a point: Cinema, objectively, isn’t what it used to be. Last year the US box office was once again dominated by superhero films and installments in other popular franchises. In 2015, Scott’s film The Martian was one of only two original stories (that is, not part of an already established franchise) to appear in the top 10 highest grossing films that year. The other was Pixar’s Inside Out. Scorsese blames a risk-averse, franchise-obsessed studio system for the industry’s current lack of creativity.”I’m worried about double-think or triple-think, which is [when studios] make you believe you have the freedom, but they can make it very difficult to get the picture shown, to get it made, [and] ruin reputations,” he said. Scott, meanwhile, specifically lambasted the superhero genre, which has proliferated in recent years. “I can’t believe in the thin, gossamer tight-rope of the non-reality of the situation of the superhero,” said Scott, who directed the unrealistic, critically panned Exodus: Gods and Kings. Scott acknowledged that some of his films, like Blade Runner, are similar in nature to comic book movies, except he makes sure to have a “fucking good story,” whereas the typical superhero film, he argues, does not. He added that he’s been asked to direct several superhero films, but has turned them all down. https://qz.com/878002/the-movies-are-dead-according-to-martin-scorsese-and-ridley-scott/ Nicolas Einfing Refn announces his intentions with much deadpan provocation and gnomic iconoclasm. “Cinema is dead,” he intones. “I have come to Lyon to declare film to be dead. And now it’s resurrected. Film clings on to our feet as we move forward. The best way to move forward to bury the past. That doesn’t mean you forget it. The [in Lyon, dedicated to the cinema pioneers, the Lumière brothers] is like a cathedral. It’s where you read the first testament. You study scriptures to get to the second testament. If you look at Instagram or Twitter or all these things that my children use – they’re all for free! What on earth are we thinking? That it doesn’t mean anything for cinema?” https://www.theguardian.com/film/2018/jul/09/nicolas-winding-refn-cinema-is-dead-bynwrcom “I don’t go to the cinema any more. [in Neuchâtel] I’ve seen more movies than I’ve seen in the last five years. [The jury] are seeing 16 films. I don’t think I’ve been to the cinema 16 times in the last five years. In that sense, for me, that cinema is already dead,” the Canadian director told Screen. “However, filmmaking is not dead. Image-making is not dead. Cinema becomes something else. It is no longer the cathedral that you go to where you commune with many other people.” Instead Cronenberg is now a firm champion of Netflix. “[Netflix] have their algorithms and I know they’ve taken some stick for that,” he continued. “People have tried to suggest the algorithms are used to decide which things to green light or not but I’ve talked to Netflix people. They say - and I believe them - that this is absolutely not true. They can make different suggestions to different members of the same family in the same house. They know who’s watching. But when it comes to saying yes or no to a series or a movie, it’s a face to face human interaction, not an algorithm.” https://www.screendaily.com/news/cinema-is-already-dead-says-david-cronenberg-/5130906.article Und zuletzt Peter Greenaway: This thing in my pocket [mobile phone], which is probably in your pocket. I think the cinema of our fathers and forefathers used to be a big public event and now most people see films on a phone when they’re lying in bed, sitting in their office or maybe on their sofa in their front room. I don’t think that’s cinema. Two other things. From 1895 to 1929 there was a phenomenon called Silent Cinema. I don’t believe it for one moment; there was always sound. But where has that cinema gone? Do you watch it? Charlie Chaplin, Buster Keaton, for children at Christmas, maybe some film academic who wants to know what Chicago tramcars looked like in 1921. So it’s become an archival phenomenon. Practically nobody at all looks at it for its entertainment value. It’s gone, it’s gone, it’s gone. Why do you not imagine a risk that cinema will go the same way? I’m sure that my great-grandchildren will say, “cinema, what was that?” So it ceased to be a public phenomenon where you go into a dark place at an event where the screen is bigger and louder than you are and you have a whole series of people around you. Those two indications will mean that cinema is dying. Brilliant French cinematographer Jean-Luc Godard said at least 25 years ago that cinema was dying. Even stupid [Quentin] Tarantino now says the same thing but for all the wrong reasons, and all your big-name Americans are saying the same thing. These are all Johnny-come-latelys. But people like me have been saying this for a long time. But! You should not be disappointed. You should not be unhappy because what happens next will be much, much better. The technologies are increasing. Microsoft invents something new every afternoon. Out of the phenomenon of these things will rise a phoenix which will be much more exciting than anything that exists now. The full title of my lecture [his Masterclass given at Cairo Film Festival] is what they said of Louis XIV: “The King Is Dead, Long Live The King.” Cinema is dead, long live cinema. https://www.theupcoming.co.uk/2018/11/30/cinema-is-dead-long-live-cinema-an-interview-with-peter-greenaway-at-cairo-film-festival-2018/ Auch der stumpfsinnige Tarantino hat's begriffen - so Greenaway.

Bitte alle mal in den Schatten gehen und Wasser trinken. Bin schon dort.

Was hat das eigentlich mit der Frage von CSFan zu tun?