Culture Education Global Change Systems&Models 
In the Einstein Year and keeping in mind Einteins 4 Dimension we want to show some models which can help us as "orienting generalisations" to keep from "a distance" our store of knowledge in order and help us to communicate and share multi-dimensional and multi-cultural content.
In is not enough to agree on some of many possible common frames of references, but bridge, to communicate "IN BETWEEN".
In litearture an "in-betweener" is a time binder - someone who conects and can convey a bigger picture, like someone making movies and is in cahrge of everything from the story, to funding, staffing and each and every scene and detail. see a definition below from the web. In the figure-spce world of games and the youth it can be a cosmic entity bridging and haronizing in critical situation. More below !
We want to show here that it is not enough to be a "time" binder, but a some who an immerse into, share and communciate, make alife, embody also spaces, cultures, levels, sectors and domains, It has to do with being "out of the box" LINK and "map paradigms" LINK" in order to relate to where oneself and others are - and what matters are about. So being in-between means to be able to bridge not just opposites (see text ORDER - CHAOS below) but paradigms !
He is working against insanity - by trying harmonise and allowing different views ways of being to co-exist. He is bridging levels of truth and reality - maybe see this link: http://benking.de/covenant-add-on/covenant-c/sld004.htm
maybe the inbetweener is someone trying to put the picture/puzzle together...: http://benking.de/covenant-add-on/covenant-a/sld003.htm by propossing new "Designs" and taking in some distance from the issues and problems: http://benking.de/covenant-add-on/covenant-a/sld007.htm,
between cod- and non-coded http://benking.de/covenant-add-on/covenant-a/sld018.htm,
or beween symbols, icons, and the index, as CS. Peirce differentiated 3 different kinds of "signs" in his sign-theory. see Profound ignorance and In-between: http://benking.de/covenant-add-on/covenant-b/sld010.htm
or form constants, bodies or refeernce schemas, maybe start here: http://benking.de/covenant-add-on/covenant-c/sld002.htm
The 3. text below is from an IN-BETWEENING as used in DESIGN and FILM MAKING. So inbetweening here is smoothing, bridging, merging and morphing media or realities.
I will add more text and better link to "other sorces" - so you can get a feel, and touch in how many ways in-betweening is common ground and practiice.
here some examples of what I mean:
http://www.cafeweltgeist.org/ewoc_slideshows/benking/sld008.htm
http://www.cafeweltgeist.org/ewoc_slideshows/benking/sld030.htm
http://www.cafeweltgeist.org/ewoc_slideshows/benking/sld034.htm
THE purpose of theis is is to show in education, arts and policy making that it is "noirmal" to be out of the boy and aware of "other" - people media cultures entities, signs - anything - it si a normal stte of mind - being fixed in the box is not normal - oftern insane - and we therfore need to cultivate the practice of mediation and transformation and transcendence - leaving the ridgid reality of the "material-physical" only. see the Autrian Series on post-materailism LINK **
- and maybe come back later...
Cheers
Heiner
1. May 2005
This page in combination with the "9-D" page is presently under re-design / construction.
http://marvelite.prohosting.com/surfer/profiles/inbetweener.html
Profile of
the In-Betweener
The In-Betweener is a cosmic entity who exists
as the synthesis of the major concepts of the universe: life and death,
reality
and illusion, good and evil logic and emotion, existence and
nothingness, god
and man.
********************************
In-Betweener
First
Appearance: WARLOCK #10
http://www.corvusonline.net/thanos/inbetweener.html
History:
The In-Betweener is a cosmic entity who exists as
the synthesis of the major concepts of the universe: life and death,
reality
and illusion, good and evil logic and emotion, existence and
nothingness, god
and man.
Fifteen feet In stature the In-Betweener Is an agent of Lord Chaos and Master Order two of the universal principal abstract beings, whose appointed task is to maintain the universal balance. Simultaneously existing end not-existing, present everywhere and present nowhere, the In-Betweener first came to human attention when it abducted the golden humanoid Adam Warlock to its quasi-realm and attempted to transform him into a champion of life to help restore the balance upset by Thanos of Titan. It was later encountered by Earth's sorcerer supreme, Doctor Strange, when it empowered the spells of a renegade band of wizards calling themselves the Creators. Strange opposed the In-Betweener and its plan to restore balance by creating universal insanity, and calling upon its masters, Order and Chaos, Strange managed to halt the In-Betweener's machinations.
A bit later,
the In-Betweener used the powers of
the six soul-gems (later renamed as the Infinity Gems) to maifest
itself once
more, despite the attempts of its Masters, Chaos and Order, to destroy
it. When
all was revealed, it came to be known that 3 of the Elders of the
Universe (the
Astronomer, the Possessor), and the Trader) had entered into a bargain
with the
In-Betweener in a gambit to destroy the world-devourer Galactus.
Leaving the
realm of Chaos and Order, the In-Betweener entered our Universe in
pursuit of
its mission. Nova, then the Herald of Galactus, dispatched the strange,
alien
life-form known as The Punisher (NOT Frank Castle) in order
to stop the
In-Betweener. However, the Punisher
failed, destoyed by the In-Betweener's ability to apply the polar
opposite of a
beings own life-force against it. Entering Galctus' ship, the
In-Betweener
attempted the same trick against Galactus, a move which failed due to
the
unique naure of the world-eater. Instead, the In-Betweener decided to
toss
Galactus into the realm of Chaos and Order, which angered the Elders
who sought
to rescue
the rest of
their bretheren, trapped within
Galactus himself. So, the In-Betweener summond Death itself, and forced
it to
kill the 3 Elders, also forcing it to break its vow never to take the
Elders (a
move which did not
endear the
In-Betweener to Death in the least.).
With the Elders gone, the In-Betweener succeeded in hurling the ship
into the
Realm of Chaos and Order. However, the In-Betweener failed to take into
account
the will of his
Masters, who
aided Galactus by removing the
Elders from within him. Enraged by the In-Betweeners, the severly
weakened
Galactus took his ship back into out realm, and engaged the
In-Betweener in
combat. With the help of the Silver Surfer, Nova, Reed and Susan
Richards, and
the 5 remaining Elders, Galactus gained his victory, and Chaos and
Order
retrieved their rebellous creation.
For a time,
the fate of the In-Betweener was
unkown until many month later, when Mistress Death resurrected the
mad-Titan,
Thanos, in order to further her own goals, which included death of half
of the
sentient life within the Universe. In order to accomplish this feat,
Thanos
decided that he would need to acquire the 6 Infinity Gems. He asked for
permission to do this, and to start he wished to retrieve the Gem
currently
held by the In-Betweener.
Well-remembering
the actions of the
In-Betweener, Mistress Death was all to glad to permit Thanos to be
about his
plan. Thanos journeyed to the Nexus of Reality, where Chaos and Order
had
imprisoned the In-Betweener. There, Thanos convinced the In-Betweener
that he
wished to leave the service of Death, and the pair applied their
combined might
against the In-Betweener's prison sphere. Once the sphere was
shattered, the
In-Betweener displayed his gratitude by attempting to slay Thanos, a
move the
Titan had easily anticipated. Unfortunately for the In-Betweener, in
the Nexus
of Reality, the dichotomies he needed to fuel his powers did not exist,
which
is why Chaos and Order had imprisoned him there. His powers had
functioned
inside the sphere only, and now, outside of that environment, he was
powerless.
Thanos
easily overcame the In-Betweener, and
retrieved the Soul Gem. As he departed, Chaos and Order appeared, and
doubtlessly incarcerated the In-Betweener in a prison that was far less
comfortable.
______________________________________________
Quote
-- Cora
Coriolis
-----------------------------------------------------------------------------
Summary
The InBetween is the region between
Reality and Truth.
Article
The In
Between is a zone of accretion centered
on the midpoint of the
Continuum,
between Reality and Truth. The
influence of the Normalizing Force
and
Idealizing Force is opposite and nearly
equal in the InBetween, so the
Sympathetic
Force dominates and manipulations of
entities through sympathy
become
accomplishable. Entities in the InBetween
can be considered as
interchangeably
physical and conceptual. The net
effect is that the
InBetween is
a strange and unpredictable place.
Most
InBetweeners live in a vast and
multilayered city, formally termed the
InterPolis
but often referred to as the Flapjack
Stack. An expansive,
eclectic,
and multilayered metropolis, the
InterPolis is divided into four
Sides, woven
together by the Subway System, and
centered on the Crossroads
Citadel.
****
--------------------------------------------------------------------------------
Summary
Article
The In
Between is a zone of accretion centered
on the midpoint of the
Continuum,
between Reality and Truth. The
influence of the Normalizing Force
and
Idealizing Force is opposite and nearly
equal in the InBetween, so the
Sympathetic
Force dominates and manipulations
of entities through sympathy
become
accomplishable. Entities in the
InBetween can be considered as
interchangeably
physical and conceptual. The
net effect is that the
InBetween
is a strange and unpredictable place.
Most
InBetweeners live in a vast and
multilayered city, formally termed the
InterPolis
but often referred to as the
Flapjack Stack. An expansive,
eclectic,
and multilayered metropolis, the
InterPolis is divided into four
Sides,
woven together by the Subway System, and
centered on the Crossroads
Citadel.
http://www.donbluth.com/inbetweener.html
Don
Bluth's Animation Academy
THE
INBETWEENER
NOW FOR
THE INBETWEENER
The
starting place for most artists entering the world of animation is the
Inbetween
Department. This is the group of artists that help the animators and
animation
assistants complete the action of a scene. It is a very important step
in your
animation career. It is the department where you will learn the basics
of
animation.
An "inbetween" is one of the
transition drawings between two "extreme" drawings. The extremes are
called the animator's "key" drawings and demonstrate the essence of
an animated action. The inbetweens fill in the action between these key
drawings (still retaining their essence, yet never distracting from
them). You
will need to learn to work in a team and learn to imitate the
animator's
drawings and line quality. This is to reduce "flutter" or
"flashing" of the drawings when viewed in continuity on video or
projected on film. This is also to avoid any distractions when a ruff
scene (a
"ruff" is the first take of a scene and includes the rough, or
uncleaned
line quality, animation and layout) is cut into the film and
viewed by
an audience.
Once a scene has arrived at
your desk.
REVIEW it thoroughly. Check the hook up scenes on either side of yours
so you
know what is happening and where it is going. It will come to you
bundled in
the same cardboards that the animator received it, with the same
xsheet. It
should have timing charts on all of the extreme drawings and each
drawing
should have been labeled properly at the bottom. Each of the completed
drawings
should have it's
number
marked in lead on the exposure sheet. At the Bluth studios, we usually
mark all
the drawing numbers on the xsheet in blue pencil. The extreme numbers
will be
circled and after completion, blackened. Numbers representing
incomplete
drawings done by the animator or assistant animator will remain in blue
until
they are completed by the assistant or the inbetweener. This allows an
easy
count of drawings to be done by the inbetweener, just count the blue
numbers on
the xsheet. Check to see that all of the animator's and assistant's
drawings
are included in the packaged
scene.
There may be special instructions regarding the timing charts or
secondary or
tertiary actions of clothing, hair or the props involved with the
character's
action. Review the xsheet, be sure the animator's name is on the cover
and on
the first page of the xsheet itself. There are spaces for the
animator's name,
sequence and scene numbers. Be sure these are filled in with the
correct
information (sometimes, with so many people handling the scene, the
xsheet
comes apart or it gets separated from the scene, labeling everything
allows us
to put things back together easily).
Confirm with the animator
whether the
scene is on "two's" (described above), or if there are actions that
require "one's" (a drawing for every frame. This may be necessary for
camera pans so the character won't flutter against the background).
Once you
thoroughly understand the purpose of the scene and have reviewed the
work to be
done with the animator (or assistant), proceed with the inbetween
process.
Start with the completion of any unfinished breakdown drawings. Most
"Original Ruff" (or "O.R.", the more common expression for
"ruff") scenes are drawn in blue. You should match your drawings with
the extremes and breakdowns of the animator and the assistant. This
includes
using the same make and model of the blue pencil that they used. Be
sure that
the animation paper is from the same source as
the rest
of the team. These drawings will be seen in the first ruff continuity
of the
movie by the director, producer and many studio executives, including
the
studio's licensing agents and promotional partners. It is important to
make
each scene look as good as possible, even for the first ruff test.
TEN
SIMPLE STEPS TO A GOOD INBETWEEN
Look at
the timing charts.
Roll the
extremes and plot the arcs.
Turn on
the backlight and put the drawings in flipping order.
Now
following the arcs and charts, build your foundation by drawing the
shapes
and the shapes between the lines.
Turn off
the backlight.
Flip the
drawings and build a solid 3 dimensional drawing on your foundation.
Put the
drawings in rolling order and recheck the inbetween.
Turn on
the backlight. Shift the drawings off the pegs to check volumes and
inbetween
details.
Fix the
final problems, using both the light and flipping. As
you will see, inbetweening is a logical process, and by
following these simple steps your inbetweens should take less time, be
more
accurate, and be
well
drawn. For a more detailed look at each of these, read on.
1.
CHECKING THE TIMING CHARTS
The
timing chart is a guideline as to how to place your inbetweens. It is
usually
located in the upper right-hand corner of the extreme drawings, and in
many
cases there will be separate charts for different parts of the same
drawing.
Some animators also vary the location and style of the charts, but
generally
they fall into the following categories:
1/2:
drawing 3 is halfway between 1 & 5.
1/3's: 3
is one-third between 1 & 7, drawing 5 is halfway.
1/4's: 5
is halfway between drawings 1 & 9
3
is halfway between 1 & 5 and
7 is halfway between 5 & 9.
1/3
Favor: 3 is one-third between 1 & 5, favoring drawing 1.
1/2 &
1/4: drawing 3 is halfway between 1 & 7, drawing 5 is halfway
between
3 &
7.
Some
Animators also call for inbetweens favoring extremes. In these cases
you have
to use your own judgement, based on how the chart looks, as to where to
put
your inbetween. But when the timing chart calls for a specific timing
(i.e.,
halfway between the two extremes), there is only one place it can be
exactly
where the animator called for it. If the inbetween doesn't follow the
charts,
it is wrong. 2. ROLLING THE DRAWINGS TO
PLOT THE ARCS
(and a
few notes on "follow-thru", "drag" and "overlap")
This is
the most important part of doing your inbetween. It is called FINDING
AND
FOLLOWING THE ARCS. The movements of most living and inanimate things
follow
circular paths of action called ARCS. For example, the action of a hand
gesture
follows a circular path. The Animator charts the positions of his
drawings
along this arc. He makes his key drawings, indicating where the
inbetweens
should be placed to keep the line of action on this curved path.
Inbetweens
done without following the arcs change the action radically, usually,
resulting
in jerky and stilted animation.
If the animator hasn't
indicated the arcs
you must find them yourself. To find the arcs, place the extremes you
are
inbetweening, plus the preceding and following extremes, in sequence on
the
pegs. (In our example
drawings
1, 3, 7 and 9.)
Now, by rolling the drawings in sequence, the arcs in the action become evident. Note all of these circular paths by making light indications on the keys, or on your inbetween, in blue pencil.
OVERLAP,
FOLLOW-THRU, AND DRAG
While
rolling the drawings, you should watch for places where the above
animation
principles are being employed, and be sure that your inbetween doesn't
stiffen
the action.
To find
overlap, follow-thru, and drag, determine the primary action.
Anything
attatched (if flexible) will have an overlapping action. For instance,
a foot
does not just inbetween when leaving the ground. The ankle (primary
action)
leads while the toes complete their action, then follow-thru.
In other
words, appendages DRAG until the primary action changes direction.
When
their secondary action is spent, they overlap, follow-thru, and drag.
For
example, to keep things like hair, coattails, and dress hems soft and
flexible,
they must drag slightly at the beginning of, or during, a move. And
they must
overlap at the end of a move or at a change of direction.
This
principle for changing direction can be applied to anything flexible.
Connection
to the primary action (A) changes direction first, followed by the
middle
section (B). The tip, depending on the length and flexibility continues
on its
course of action until interrupted by the pull of the main body (A
& B).
(Hint: Study the action of hair, ears, falls, etc., with a
strip of
thin paper).
Following
the Animator's ruffs on all drags will contribute to loose animation.
3. TURN
ON THE BACKLIGHT AND PUT THE DRAWINGS IN FLIPPING ORDER
Place the
drawings on the pegs in the following order:
First
extreme Last extreme On
top, your inbetween
Turn on
the backlight (the flourescent light behind the animation disk).
4. BUILD
THE FOUNDATION OF YOUR INBETWEEN
Using the
light, plot the position of the shapes and lines between the two keys.
Make
sure that you are following the arcs and are placing the shapes in the
charted
position. Finish drawing this skeleton for your inbetween by accurately
placing
the shapes between the shapes and the lines between the lines.
5. TURN
OFF THE BACKLIGHT
6. FLIP
THE DRAWINGS TO CHECK THE INBETWEEN
Grasp the
drawings in the following manner:
Flip the
drawings as indicated and you should be able to see the action. This is
called
FLIPPING. Now flip the drawings. Does the inbetween work smoothly? Are
there
any lines missing? Do any of the lines jiggle or get shorter or longer?
Is
anything out of arc? Fix these problems. BUILD
A SOLID 3-DIMENSIONAL DRAWING ON YOUR FOUNDATION
You must
now make sure your inbetween works as a 3-Dimensional drawing. Flipping
all the
while, check to ensure that details such as eyes are drawn in
perspective and
are firmly anchored to the main masses. Check to see if things such as
legs and
arms look solid rather than flat, that the lines wrap around the forms.
Think
of the drawing as a real object and try to imagine the unseen side of
the form.
Sculpt as you draw. Look
closely at the extremes as you flip and
see the way the forms are described. Try to match the animator's
drawing, and,
most of all, try to capture that fleeting essence that will give life
to your
drawing.
If your
drawing looks flat or warped, it is probably because it hasn't been
inbetweened
3-dimensionally. This can be overcome by building your inbetween using
basic
shapes such as cubes, balls, and cylinders. After laying in the basic
forms it
is a simple matter to add the details. It is extremely important to
construct
your inbetween or the animated shapes will look like they are made of
JELL-O®,
and details will float instead of being anchored to the main masses.
This kind
of problem is illustrated below in some sketches from THE ILLUSION OF
LIFE:
The
straight inbetween will look like this with the nose and cheeks mashed
in.
In plan
at left, inbetween 2 is halfway between 1 & 3.
Drawing 2
is now placed in space halfway between 1 & 3, with some of the far
cheek
showing and the nose where it ought to be on the head.
The
extremes were easy to draw, but the inbetweens are impossible. 7.
ROLLING AND CHECKING THE INBETWEEN
Now that
you've got a good drawing that seems to inbetween properly, put the
drawings in
rolling order. Roll through the drawings and re-check the inbetween for
all the
things we have been talking about; drawings out of arc, jittering and
crawling
lines, changing volumes, floating details and any other inbetweening
problems.
8. TURN
ON THE BACKLIGHT
9. SHIFT
THE DRAWINGS OFF THE PEGS TO CHECK VOLUMES AND INBETWEEN DETAILS
10. DO A
FINAL CHECK OF THE INBETWEEN
Roll
through and flip the drawings to do a final check of the inbetween. Fix
the
problems of there are any.
NOTE: Pay
special attention to the inbetweening of eyes. Make sure the distance
between
the eye, the eyebrow, and the color separation inbetweens properly.
Also keep
the eyelid from wobbling or changing angle during blinks. This can be
done
easily, as explained earlier, by shifting the drawings off the pegs and
checking the spacing and angle of the inbetween.
START THE
NEXT INBETWEEN
