Shining Color Space – Part 7: Fire, The Overlooked Theme

1. Fire related plot points
First, I want to make a list of fire related plot points, as I think this is one of the major themes in The Shining overlooked so far.

• Jack wields a Fire Axe.
• The twins were apparently killed with such a Fire Axe (it even lies there in that scene!).
• Delbert Grady mentions one of his girls trying to set the Overlook on fire:  "My girls, sir, they didn't care for the Overlook at first. One of them actually stole a pack of matches, and tried to burn it down."
• Danny forgot his Fire-Engine Toy in Suite 3, and goes to get it (before the "fatherly talk" from Jack to Danny).

Then there is at least one obscure reference to fire/burning in the film:

• When Danny asks "Is there something bad here?" Hallorann answers: "Well, you know, Doc, when something happens, you can leave a trace of itself behind. Say like, if someone burns toast. Well, maybe things that happen leave other kinds of traces behind. Not things that anyone can notice, but things that people who "shine" can see. Just like they can see things that haven't happened yet. Well, sometimes they can see things that happened a long time ago. I think a lot of things happened right here in this particular hotel over the years. And not all of 'em was good." 

And in King's work there seem to be some references to fire or explosions:

• In the novel, it is a boiler explosion that demolishes the Overlook.
• King (while staying at the Hotel that was the inspiration for the novel) dreamt to have been chased by a fire-hose.
• In the novel, Danny is chased by fire extinguishers.

And as might become clear, they sure do take the fire hazard seriously at the Overlook Hotel.

Stanley Kubrick laughing at the irony, that of all the film sets in the world, it was the set for the Overlook Hotel that burned down. (via)

The Ahwahnee Hotel was build to be fireproof – most that looks to be wood isn't, it is actually either concrete or granite finished to look like wood. (see)


(As with most texts written by me, I release what I have gathered here into the Public Domain. I have drawn from the works of others – may others use my work and improve upon it. If you use it, a shout out would be nice though.
And as with other texts by me, this is unfinished – I may or may not come back and continue working on it.)

Shining Color Space – Part 5: Color Theory

A short intermission: I want to omit the quirks of human color perception in order to give you a cartoon version of human color perception. We have three types of color sensitive cells ("rods") in the human eye: one for red, one for green and one for blue. This would roughly map to an three axis RGB color space (plus quirks). However there are better suited color spaces for understanding human color perception. An example is the L*a*b* color space, which is close to human perception of color. The three RGB axis have been transformed to the three L*a*b* axis: we have a light luminance axis or white-black axis ("L*"), a red-green axis ("a*") and a blue-yellow axis ("b*"). (See Natural Color System for a shorter example.)

In such a perceptive color space we can consider six distinct color points that could be constructed as defining "corners" of that perceptual color space. "Pure" white, pure red and pure blue, plus the "anti"-color points black, green and yellow. (BTW, white and black are sometimes not considered "colors", but are essential in defining color spaces.) All else colors are "mixtures" between those endpoints and exist on a continuum in a 3D space between those points – the ratio on each axis defines a color.


With regards to emissve colorspace: There are the three primary colors – pure red, pure green and pure blue – plus white (or rather the "white point", light of all colors mixed in a certain ratio) and black (no light). Again: Those last two are sometimes not considered "colors", but are essential in defining color spaces. All other colors (or rather color points in this 3D space) are mixtures and exists on a continuum, and the ratio between the three rods defines a color.

What I wrote about is the case for what the human eye can perceive: an emissive or additive color space. Objects like fire-engines and walls are typically not emissive, but reflective, and for those the subtractive color space applies. There we have also three primary colors, but these are now cyan, magenta and yellow! And furthermore these primary colors depend on the process creating them, as in the color pigments used!

The three additive primary colors are the "anti-colors" to the subtractive colors (and vice versa): E.g. cyan is a mixture of green and blue, but does not contain red, so cyan is "not-red". Red is not a part of the mixture for cyan, so red is "not-cyan". If you go and invert colors, the primary colors of one turn into the primary colors of the other. (Invert the colors in the opening titles of The Shining, and the title font becomes red. C.f. below the reason why surgeons wear cyan colors.)

See Natural Color System (NCS) and Opponent process:
"The NCS color model is based on the three pairs of elementary colors (white–black, green–red, and yellow–blue), as defined by color opponency."

(BTW, this is the reason surgeons wear cyan/green colored garment: First of all one can see any blood stains that weren't removed during cleaning. And secondly during an operation with its bright lights, exposure to one bright color desensitized the eye but but the eye stays sensitive to the "anti-color", and the problem with the red/bloody body gets mitigated.)

The three primary additive colors (pure red, green and blue) that the eye could perceive tend not to appear in nature in pure form, with the possible exception of blue in some parts of the blue sky and green for auroras. What we see in nature is always mixed, e.g. the green of the plants have a bit of red mixed in. Otherwise the pure primary additive colors can only be created by artificial light, e.g. a LED or a laser. Typically when people talk about primary colors, they mean something Fire-Red, which in fact is not a little bit away from the end point of the additive color space that the human eye can perceive, and is not a primary color in the subtractive color space. So what we consider "primary colors", like red, are actually not in the strict sense, but always mixtures. But we gloss over this and can call red, green, blue, cyan, magenta and yellow – those six more or less "pure" colors – "primary colors". Regardless of whether we are in emissive or reflective color space, these six "primary colors" hold special meaning, and it is some of those primary colors that play a dominant role in The Shining.

Shining Color Space – Part 4: Kubrick's Crayola World

COLORS

Before we delve into the symbolism associate with the colors used (and their possible symbolism within Kubrick's work), let's make a list of the distinct, identifiable colors used in The Shining (or at least colors identifiable by me).

For some examples it is a bit difficult to assign a distinct color. Colors exist on a continuum (actually a three-dimensional color space) and "a distinct color" is a point on that continuum, in essence an idealistic construct.

In some cases the film does not make it clear on which point of the color space a color falls: Are these only Earth-tones in the carpet on which Danny play, or is one of the colors a Fire-Red? Is the green in the Kitchen Hallway a Natural-Green, or an Fluorescent-Green? Does the film make a difference between Yellow and Gold, and if so what is the distinct meaning of Yellow? To make matters worse, some Yellow-tones are almost Earth-tones. And what about Blue: Did Kubrick make a distinction between "Primary Blue" and "Light Blue"? Is there a difference between Blood-Red and Fire-Red? And should we differentiate between the different Earth-Tones?  (At least I have difficulties differentiating between all those different Earth-tones.) What about mustard, as mustard is considered a shade of yellow, but if say it is "buff" we could as well group it with under brown or "Earth-Tones".

What are Earth-tones anyway? Wikipedia has this to offer:

Earth tone is a color scheme that draws from a color palette of browns, tans, warm grays, and greens. The colors in an earth tone scheme are muted and flat in an emulation of the natural colors found in dirt, moss, trees and rocks. Many earth tones originate from clay earth pigments, such as umber, ochre, and sienna.

Which Earth-Tones are there in The Shining? I could count at least those:

• Mustard/Buff
• Fur-Brown
• Shoe-Leather-Brown
  

Besides Earth-Tones, there are some (if not many) other cases, the colors are quite clearly distinct, as for example the "Fire-Red" or the "Fluorescent-Green".

Also, there is the question whether White/Gray/Black are colors – e.g. in some contexts white or gray is not considered a "color". But in the context of the film, White is clearly on the same footing as the other colors. But what about Black? And Grays?

So I will try to differentiate colors as much as possible, even if I might end up grouping them back together (e.g. Yellow/Gold, or "Flag"-Red/"Warning"-Red).

There are many "standards" for color names, and I will use the color names of the Crayola crayons, as it is a reasonable assumption that Kubrick knew those crayons – and those crayon colors have names that might suggest a deeper meaning.  Alternatives would:

• An unlikely alternative color standard for Kubrick to use would be the the Federal Standard 595, as it uses only color numbers, no names. Kubrick would have used the additional meaning with the color names.
• Similarly the Munsell color system does use only numbers, no names – hence it is again unlikely to have been used by Kubrick.
• Pantone would have been an possible choice for Kubrick (e.g. "True red" Pantone 19-1664), though I have my doubts he would have used Pantone. Pantone is a set of colors for printing, and one of the central colors in printing is magenta – there is no magenta in The Shining, which would strike me as odd if Kubrick used Pantone colors.
• German pre-War RAL colour standard (from the "Reichs-Ausschuss für Lieferbedingungen ") seems interesting, uses names like "Flame red" for RAL 3000, "Signal red" for RAL 3001, "Golden yellow" for RAL 1004 and "Rape yellow" for RAL 1021 (and would furthermore as being pre-War German tie in with the "Holocaust"-theme people have suggest for The Shining) – but I find it dubious whether Kubrick would have used RAL.
• Another more likely alternative would have been felt-tip pens – from what I've seen, Kubrick used (I could be wrong) broad felt-tip pens for his storyboard and thin fibre-tip pens for notes in the scripts. However the colors of The Shining don't feel (at least to me) like the typcial vibrant felt-tip colors, they feel more like crayon colors – including the fluorescent "Neon"-Green, which at first I thought to be a green highlighter-pen, but actually might have been the Crayola fluorescent color Ultra Green (which was renamed Screamin' Green in 1990). The only color that falls out of the Crayola theme is the pure Cyan used in the titles.
• A less likely alternative are  colored pencils – it is conceivable that one might be able to find a set by a manufacture that has meaningful names for the colors. However the Crayola Crayons are such a good fit for this Crayon-colored world that Kubrick has created …
• A strong contender for the palette Kubrick might have used are painting colors, exemplified by the work of his wife Christiane Kubrick.

By the way, Crayola Drawing Crayons were introduced in 1903 and the earliest Crayola packages listed four cities: New York, London, Paris, Hamburg.

The largest pack released in 1903 contained 28 colors (I don't have the color codes):

Number	Color Name
#1	Black
#2	Charcoal Grey
#3	White
#4	Purple
#5	Prussian Blue
#6	Celestial Blue
#7	Ultramarine Blue
#8	Cobalt Blue
#9	Chrome Green, Dark
#10	Chrome Green, Medium
#11	Chrome Green, Light
#12	Olive Green
#13	Van Dyk Brown
#14	Indian Red
#15	Raw Umber
#16	Burnt Umber
#17	Raw Sienna
#18	Burnt Sienna
#19	Golden Ochre
#20	Madder Lake
#21	English Vermilion
#22	Rose Pink
#23	Flesh Tint
#24	Venetian Red, Light
#25	Lemon Yellow
#27	Medium Yellow
#28	Orange

As I don't have the color codes for those original colors I will have to rely on the information from Wikipedia on the (more or less) current line-up of Crayola. (And obviously the colors changed over the years… E.g. the 1903 Celestial Blue is a kind of dark blue, while the 1935 Celestial Blue looks a bit like the dresses of the "Twins"…) I suspected at first that Kubrick might have used the original 1903 colors, with the possible addition of the fluorescent Ultra Green from 1972 – but then again he might have used a set of Crayola pens that was contemporary to the 1980 film (after all the Overlook in the film has been redecorated in a modern design).

Looking at the early Crayola crayons, I think they include from the film (everything except the modern Ultra Green). There is even Gold and Silver:

The Crayola No 101 was a 12 color box […]. The box lid […] says “Including Gold, Silver and Copper.”

That leaves the question: Is there Copper in the film? There is some brass, for sure…

Let's look at what contemporary Crayola colors where available in 1980:

asdf

Please keep in mind: The following color depictions are only roughly approximate!

Contemporary Crayola Color Name	Examples in the Film
Red (Used in a manner that evokes the image of flag colors)	Clothes mainly Wendy/Danny
Red (Used as warning/help color)	Red Round Fire Alarm Bells in the Overlook Fire Extinguishers NO SMOKING sign First Aid Help Poster Sprinkler Pipes in the various Kitchen and Service areas POLICE and FIRE posters in Telephone Room Printing on cardboxes
Red (other uses of the color red with possible different meaning)	Snocat Some of the sofas Knobs on the "fridges" Freezer Red Light Room 237 Key-Tag Red Doors (elevator/staircase, possibly blood red?) Darts in the Game Room
"Blood"-Red	Killed Twins Elevator blood flood
Gold (metallic) Goldenrod Yellow	Gold Room Decoration Boulder Flat (e.g. Boulder flat) Jack's VW Line on the road Native American art
Black	Wendy's hair
Pine Green Green	Jack's tie in Ullman's Office Native American art
Forest Green	Service Hallway(s) (Evoke images of Pistachio and Chartreuse liquer)
Ultra Green (F)	Light in staircase near Room 237 Room 237 bathroom Boulder flat bathroom (The very similar webcolor Chartreuse is according to Wikipedia "a color halfway between green and yellow".)
"Cyan" Ultra Blue (F) Clearly NOT: Cornflower Turquoise Blue Aquamarine Sky Blue	Film titles are definitely "Cyan" Dress of the "Twins" might be Ultra Blue? Jack's STOVINGTON Eagles shirt?
-	-
White	Walls/Rooms
Blue	Clothes Wendy/Danny
-	-
Indian Red	Carpets in the Overlook Walls in the Overlook Native American art
"Fur"-Brown	Clothes some characters wear Some of the sofas
-	-
Violet (Purple) Royal Purple Plum Red Violet	Room 237 carpet (together with green) Hallorann Bedroom clothes (together with green) Wendy clothes when she opens the fruit can (with yellow fruits) in the Hotel Kitchen (also TV is mostly purple in same scene)
Silver (metallic) Gray Cadet Blue Periwinkle	Road Rocks Overlook Hotel Serving cart (Wendy brings breakfast) Kitchen stuff (lots) Kitchen Hall stuff (strewn)
-	-
Salmon Carnation Pink Melon Peach (Flesh until 1962) Piggy Pink	Ullman's office (And might I add what a strange color) Boulder Bathroom Some parts of the toys
Color	-
Color	-

(And creating this table is driving me crazy… HTML, color codes plus quirks from the blogger.com interface… If you reuse it, think of all the work I put into it.)

MH370 – Evaluating Hypothetical Routes

[Update 2014-05-11 21:22 UTC]

It seems fuel consumption rules out any of the scenarios below…

[End Update 2014-05-11 21:22 UTC]

Starting mainly with the thoughts of Duncan Steel and Warren Platts on the reconstructions of the missing MH370 flight, I thought I tried to see what possible routes the flight could have taken.

I tried to guesstimate a possible flight path taking into account the following:

1. I assumed a "constant cruise" flight between waypoints, at constant true air speed (TAS) and constant flight level.
2. I used the "Inmarsat ping rings" (distance only) as read out by me from the released Google Earth graphics (PDF). I made screenshots from the PDF, overlaid the screenshots in Google Earth, and moved them to get a good agreement between screenshots and map-features in Google Earth – I did this for every ping ring segment.
3. I used then wind (but only the strong winds with about 50knots) and magnetic deviation to further refine the guesstimate of a possible waypoint based flight path. The winds before 21:41 are light (on the order of 10 knots) so I choose to ignore those – factoring in those winds could change the results, possibly invalidating my guesstimate.

Furthermore I did the following:

1. I ignored the Burst Frequency Offset (BFO) diagrams. An publicly not known formula is needed to convert those BFO points into doppler shift (which then could be used to compute line of sight speed). A trustworthy reconstruction of the line of sight speed could be used (once available) to falsify any reconstruction (or possibly lend more credence to it).
2. Furthermore I ignored any fuel range considerations – factoring in fuel range could possibly invalidate my guesstimate.
3. I got waypoints from skyvector and other sites.
4. I used Google Earth to compute distances between waypoints.
5. I assumed the last known position to be the waypoint NILAM, which introduces a small error on the order of 10 to 15 nautical miles.
6. Every measurement I made introduces an uncertainty of at least a few nautical miles – the reconstruction is meant as an guesstimate mainly to rule out paths that clearly do not fit the "waypoint cruise" scenario.
7. Once I had a halfway good accordance between hypothetical track and the ping rings, I factored in wind (and in one case magnetic deviation)

I tried the following scenarios

1. Scenario SPOLE: I first tried a "simple" scenario with a flight consistent to the southpole (SPOLE) via ISBIX – the SPOLE scenario is the simplest, but is not in accordance with the Inmarsat ping rings and a constant cruise. 
2. Scenario RUNUT/189: After the simple SPOLE scenario failed, I used a route via MUTMI and RUNUT, as presented by Warren Platts. After RUNUT, I assumed a heading of 189. While in somewhat good agreement until 21:41, the RUNUT/189 scenario fails after that, mainly due to strong crosswinds. In magnetic heading mode, both the winds and the magnetic deviation would have bend the track towards the East (towards Australia) by about 350 miles at 00:11. In track mode ("great circle"), the ground speed does not match TAS plus crosswinds (about 50 knots towards Australia).     
3. Scenario RUNUT/191: After RUNUT/189 failed, I tried several slightly different headings. A scenario with a great circle track, with heading 191 after RUNUT, and factoring in winds, leads to a somewhat good accordance (but not perfect accordance) with the last ping ring at 00:11. A heading of 191 after RUNUT would point to a waypoint off the west coast of South America.

I think the RUNUT/191 scenario could further be refined to better match the ping rings, winds, and a cruise between waypoints. Whether the doppler data agrees (and how reliable a doppler reconstruction is), that is another question. 

To me (and according to my my guess, my limited knowledge and the "facts" known and considered by me), it seems at least physically possible that such a route could have been flown by the aircraft – a more precise analysis, based on better data (e.g. more precise Inmarsat pings with doppler) might be able to rule out this scenario.

The RUNUT/191 scenario is in my view one scenario that should be considered (and possibly refined) – however it does not rule out other scenarios, e.g. the scenarios that lead to the current search site. Furthermore I could imagine that other waypoint based scenarios exist (e.g. ISBIX ROBIK), that might match the known data (e.g. Inmarsat pings), or might even be a better match.

Furthermore the plausibility of the RUNUT/191 scenario (one way or the other) does not make predictions of the plausibility of other scenarios – it would be foolish to rule out any scenarios that seem physically possible. Though concentrating the (limited) resources for locating the aircraft on the most likely site (as per understanding of the investigation team) is probably the wisest choice (for now). Should a more extensive search at the current search site turn up nothing, I guess other scenarios will have to be considered.

To be done: Publish the data I used in Google Earth. Done.

[Update 2014-05-10 12:56 UTC] I shared what I used in Google Earth.

[Update 2014-05-10 13:02 UTC]

"SPOLE scenario"

Waypoints:

Shortest stay on P627:
NILAM IGEBO ISBIX SPOLE

Via BEDAX (earlier turn off of P627):

NILAM (IGEBO POVUS) BEDAX ISBIX SPOLE

Via NIXUL (stays longest on P627):

NILAM (IGEBO POVUS BEDAX) NIXUL ISBIX SPOLE

Here are some screenshots from the "SPOLE scenario":

RUNUT/189 scenario

Waypoints: 

NILAM (IGEBO POVUS BEDAX) NIXUL ISBIX MUTMI RUNUT and then 189 heading

And here are some screenshots for the "RUNUT/189 scenario" (similar to Warren Platts' waypoints scenario):

About MH370

A LOT of people write (and talk) about the MH370 missing airplane (and probable crash) without knowing what it is that they write about (cf. Dunning-Krüger and Chournalism). What many many people seem to not understand is what the "Inmarsat arcs" mean.

The "Inmarsat arcs" are where the last known location of the airplane is (the last "ping") – or in other words, the aircraft's last ping was made from near those arcs. The arcs do not represent the flightpath of the airplane

If we assume that the crash site is near the last ping (an assumption that can be wrong, as an airplane can glide for quite some distance…), and if we assume that the last radar contact is correct (which is not necessarily the case…), then we can draw many many different flightpaths from the last radar contact to the last ping.

Here are four purely hypothetical flightpaths out of many many more hypothetically possible flightpaths:

There are more likely flightpaths (e.g. the first one), and there are less likely flightpaths (e.g. the other three) – it would be good to have more information. For example: from what locations were the other pings made from? Missing such crucial information, the search area might be way way off…


There are many more things that are wrong in what people write and say about the MH370 flight, but to find that out is left as an exercise for the so inclined critical* reader.

--
* critical, from Greek "kritikos", “able to discern”.

The Road To Fukushima Daiichi – A Visit With Google's StreetView

It is quite interesting, in June 2013 Google send one of their StreetView cars to the area around Fukushima Daiichi. One can get quite near with StreetView, you can even see unit 5 or 6.

Unit 5 or Unit 6

The closest one can get to Fukushima Daiichi on the main access road:

Trucks for concrete heading to Fukushima Daiichi

Trucks for concrete returning:

The intersection at the access road

Looking east (towards Fukushima Daiichi)

Looking south

Looking west

Looking north

The house at the intersection

Those bears.

Along the road to Fukushima Daiichi

West of the intersection

The bears.

South of the intersection

More bears.

South-west of Fukushima Daiichi

South of Fukushima Daiichi

North of Fukushima Daiichi

A panorama I made (south of Fukushima Daiichi)