The Los Angeles Times from Los Angeles, California • Page 32

D4 TIMES FOR WEDNESDAY, NOVEMBER 10, 2010 ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (11:15, 12:15, 1:40, 2:40, 4:05, 7:30, 9:55 3D (DIGITAL 3DX) 7:35, 10:00 MORNING GLORY (11:20, 2:00, 7:20, 10:00 DUE DATE (11:55, 12:35, 2:20, 3:00, 4:45, 7:10, 7:50, 9:35, 10:15 FOR COLORED GIRLS (10:40, 1:35, 7:25, 10:20 (11:45, 12:55, 2:10, 3:30, 4:35, 7:00, 9:15 HEREAFTER (10:40, 1:30, 7:10, 10:00 PARANORMAL ACTIVITY 2 (12:15, 2:35, 7:15, 7:55, 9:35, 10:15 ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (11:50, 2:20, 7:40 GLORY (11:10, 1:45, 7:10 DUE DATE (11:20, 2:00, 7:20 (11:05, 1:25, 7:00 HEREAFTER (11:00, 7:35 PARANORMAL ACTIVITY 2 (4:40) RED (11:15, 1:40, 7:30 DOWNEY DO DO WNEY CINEMA 10 WNEY CINEMA 10 8200 3rd Corner of 3rd St. and New Ave. 562-622-3999 SAN CLEMENTE SAN CLEMENTE CINEMA 6 SAN CLEMENTE CINEMA 6 641-B Camino De Los Mares 949-661-SHOW (7469) ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (11:15, 11:45, 12:45, 1:40, 2:10, 3:10, 4:05, 4:35, 6:30, 7:00, 8:00, 8:55, 9:30 3D THE FINAL CHAPTER (DIGITAL 3DX) (10:50, 1:00, 3:10, 7:40, 9:50 3D (DIGITAL 3DX) (12:30, 2:50, 7:50, 10:15 MORNING GLORY (11:20, 12:05, 2:00, 2:40, 4:35, 7:10, 7:55, 9:40, 10:25 DUE DATE (11:10, 11:50, 1:35, 2:15, 4:00, 4:40, 6:25, 7:05, 7:45, 8:50, 9:30, 10:10 FOR COLORED GIRLS (10:45, 1:35, 7:25, 10:20 (12:15, 2:40, 7:30, 10:00 HEREAFTER (10:45, 1:40, 7:20, 10:10 PARANORMAL ACTIVITY 2 (10:50, 1:00, 3:10, 7:35, 9:55 RED (11:20, 1:55, 7:15, 9:50 LIFE AS WE KNOW IT (12:00, 2:40) VISTA METR METR OPLEX 15 OPLEX 15 25 Main Vista Village Dr. Exit, off Hwy 78 760-945-SHOW (7469) ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (11:00, 11:30, 1:30, 2:00, 4:05, 6:45, 7:15, 9:50 3D THE FINAL CHAPTER (DIGITAL 3DX) (12:20, 2:50, 7:45, 10:05, 10:40 3D (DIGITAL 3DX) (11:55, 2:35, 7:30, 10:00 GLORY (11:20, 2:05, 7:35, 10:20 DUE DATE (11:10, 11:50, 12:30, 1:55, 2:25, 3:05, 4:25, 4:55, 7:00, 7:40, 8:20, 9:30, 10:10 FOR COLORED GIRLS (11:00, 12:35, 2:05, 3:55, 7:20, 8:15, 10:25 (12:25, 6:05, 8:30 HEREAFTER (10:55, 1:40, 7:25, 10:20 PARANORMAL ACTIVITY 2 (12:20, 2:45, 7:40, 10:30 RED (11:15, 2:00, 7:35, 10:25 ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (10:45, 12:00, 12:35, 1:10, 2:30, 3:05, 3:40, 5:00, 6:05, 7:25, 8:00, 8:30, 9:50, 10:25 3D THE FINAL CHAPTER (DIGITAL 3DX) (11:45, 2:25, 7:30, 10:00, 10:55 3D (DIGITAL 3DX) (12:10, 2:35, 7:45, 10:10 MORNING GLORY (11:05, 1:50, 7:40, 10:20 DUE DATE (11:00, 11:50, 1:25, 2:20, 4:00, 4:40, 6:30, 7:15, 8:10, 9:00, 9:45, 10:40 FOR COLORED GIRLS (10:45, 1:50, 6:40, 7:40, 9:40, 10:30 (11:20, 1:45, 4:15) HEREAFTER (12:20, 7:10, 10:25 PARANORMAL ACTIVITY 2 (10:50, 1:00, 3:20, 7:55, 10:20 RED (11:10, 2:05, 7:35, 10:15 LIFE AS WE KNOW IT (10:55, 1:40) PICO RIVERA PIC PIC RIV RIV ERA ERA ILLAG ILLAG WALK WALK 15 15 8540 Whittier Blvd. 562-205-FILM (3456) REDLANDS REDL REDL ANDS CINEMA 14 ANDS CINEMA 14 340 N.

Eureka St. 909-793-6393 ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (10:50, 11:35, 12:05, 1:05, 2:00, 2:30, 3:30, 4:25, 6:05, 6:50, 7:20, 8:20, 9:15, 9:45 SAW 3D THE FINAL CHAPTER (DIGITAL 3DX) (12:25, 2:55, 7:35, 9:55 3D (DIGITAL 3DX) (10:50, 1:05, 3:20, 7:55, 10:20 GLORY (11:00, 12:00, 1:40, 2:40, 4:20, 7:00, 8:00, 9:40 DUE DATE (11:15, 12:00, 12:45, 1:40, 2:25, 3:10, 4:05, 4:50, 6:30, 7:15, 8:00, 8:55, 9:40, 10:25 FOR COLORED GIRLS (12:15, 1:00, 3:20, 6:25, 7:10, 9:30, 10:15 (12:25, 3:00, 7:50, 10:15 HEREAFTER (10:55, 1:45, 7:30, 10:20 PARANORMAL ACTIVITY 2 (11:55, 12:40, 2:15, 3:00, 4:35, 6:55, 7:40, 9:15, 10:00 CONVICTION (11:30, 2:10, 7:30, 10:10 RED (11:05, 1:45, 7:05, 9:45 ALL DIGITAL PRESENTATION 3D (DIGITAL 3DX) (11:50, 12:30, 2:15, 3:00, 4:50, 7:20, 9:50 3D (DIGITAL 3DX) 7:55, 10:20 MORNING GLORY (11:20, 12:05, 1:55, 2:35, 4:35, 7:10, 7:50, 9:45, 10:25 DUE DATE (11:15, 12:15, 1:45, 2:45, 4:15, 6:45, 7:45, 9:15, 10:15 FOR COLORED GIRLS (12:00, 7:00, 10:05 (11:10, 1:35, 6:40, 9:10 HEREAFTER (11:00, 1:50, 7:25, 10:15 CONVICTION (11:25, 2:00, 7:30, 10:15 RED (11:30, 2:05, 7:35, 10:05 SECRETARIAT (11:00, 1:40, 7:20, 10:00 BUENA PARK METR METR OPLEX 18 OPLEX 18 8290 La Palma Avenue 714-826-SHOW (7469) MONROVIA MONROV MONROV IA CINEMA 12 IA CINEMA 12 410 S. Myrtle Avenue 626-305-SHOW (7469) Areport by Forrester Research predicts that e-book sales will total $966 million in 2010. In 2011, the $1-billion line for total e-books sales will be crossed. In 2009, e-book sales were $169.5 million not a big portion of the $35-billion publishing industry but the rate of increase was an impressive because people who get the hang of reading e-books, the Forrester report says, shift their book-buying from hardcover or paperback to e- books.

James McQuivey writes, average eBook reader already consumes of books in digital Those taken the plunge and gotten aKindle or other e-reader have an even higher percentage: 2 out of 3 books they read are e-books. Amazon indicated as much in July when it announced that in its spring quarter it sold 143 e-books for every 100 hardcover books. And yet Forrester found that only of online adults who read books read e- books, indicating room for still more growth. McQuivey writes, if we never get color e-Ink screens, if publishers never experiment with eBook subscriptions, and interactive eBook formats never succeed, we will still see digital get close to $3 billion in size by the middle of the The question for publishing is whether e-book sales will simply cannibalize current hardcover and paperback sales, or whether there might be a windfall of converting formats akin to when someone who had the Beach on vinyl bought it again on CD, and then again as an MP3. If people who have the paperback edition of Da Vinci buy it again as an e-book, publishing will profit.

But if they skip it, and instead choose to buy Dan next novel as an e- book instead of getting the hardcover, the bottom line gets less rosy. Abillion looks good if abonus; if just a new slice of the same pie, well, slightly less delicious. carolyn.kellogg E-book sales boom on tricky ground Carolyn Kellogg JACKET COPY latimes.com FindLocal is your tipsheet for the best food, shopping and entertainment in SoCal. Check it for details about art critic Lucy Lippard at 18th Street Art Center, the Brandon Flowers at the Wiltern, new event, bar and club listings, and more. POP MUSIC Brandon Flowers The front- man and keyboard maestro strikes out on his own with a solo album and aU.S.

tour. features a surprising array of influences, including heartfelt gospel and slow-burning balladry. Wiltern Theatre, 3790 Wilshire Koreatown. 7 p.m. $42.

(213) 388-1400. www.livenation.com MOVIES Space, Land, and Times: Underground Adventures With Ant Farm This is the first film to explore the subversive architecture collective Ant mark on the art world, pop culture, and current technologies. A discussion with Ant Chip Lord will follow the screening. Hammer Museum. 10899 Wilshire Blvd.

7 p.m. Free. (310) 443-7000. hammer.ucla BOOKS Janie Bryant The Emmy Award-winning costume designer discusses and signs copies of her new tip guide. Book Soup, 8818 Sunset West Hollywood.

7 p.m. Discussion, free. Book, $26.99. www.booksoup.com Lucy Lippard The author and art critic will discuss the intersection of landscape, history, place-making and tourism. 18th Street Arts Center, 1657 18th Santa Monica.

7 p.m. Free, reservations suggested. (310) 846-2610. www.otis.edu/calendar Happening Wednesday Last winter the work of avant-garde Greek composer Iannis Xenakis bled out of the concert hall and into the Drawing Center in New York. Thatlovely, learned show, Xenakis: Composer, Architect, opened at MOCA Pacific Design Center over the weekend.

And this is the onlytime use the word relation to aformi- dable but, of late, bizarrely fashionable composer. In New late composer (1922-2001) has become a new music rock star says the FM classical music station WQXR.Thus it was that in Central Park last summer six percussion- ists floating on the Boating Lake banged almost frighteningly peculiar but rocking His ultra-complex string quartets are played in downtown jazz clubs to eager young audiences. Now the Xenakis express has headed west. In conjunction with the MOCA opening, a version of de an arrestingly powerful electronic music and multimedia spectacle designed for a festival at the historic site in Iran in 1971, was partially re-created at the Los AngelesState Historic Park at sundown Saturday. It attracted a cadre of art world hipsters as well as the electronica devotees who hang out around the expansive Xenakis bins at Amoeba Music.

Sunday at sunset, Cal- Arts staged the West Coast premiere of only opera, at the new outdoor Wild Beast. Like the daunting work was presented free to the public. Despite a cool, windy day that threatened rain, picnickers and even some familiesflocked to Valencia. Wild Beast, indeed. music is so overwhelmingly odd that itis nearly indescribable and also pretty much unintelligible.

be happy to take suggestions for a major composer in the history of Western music who ismore esoteric. To fully figure out a Xenakis score, a working knowledge of calculus, the physical sciences and architecture are necessary. It hurt to know two dead languages: ancient Greek and FORTRAN, that of computer programming. The musical requirements include the chops to subdivide rhythms into complex fractions and pitches into microtones. Be sure to bone up on classical Greek scales and culture.

Finally, if not tough, forget it. Ugly sounds are as valuable as beautiful ones in the Xenakis universe. Angry dissonances threaten. Loud means loud. Silences can be even scarier.

Luddites, lightweights, wimps and most of all sentimentalists stay home. So how is itthat a composer with so steely an intellect and so little sentiment, one who wrote music of such shockingly cold, hard power, has captured the modern imagination? The fact is that Xenakis was a romantic revolutionary who comes as close to being an avant-garde superhero as we are ever likely to get. An outsider all his life, Xenakis was born in Romania to refugee Greek parents. He studied math and engineering in Greece and came to music late. A dashing figure, he was a member of the Greek resistance during World War II who lost half of his face when abomb exploded next to him.

As a communist in the Greek civil war that followed, he barely escaped a death sentence and lived as an exile with a price on his head in Paris, unable for many years to return to Greece. He studied in Olivier classes with Pierre Boulez and Karlheinz Stockhausen (with whom he ultimately feuded), but also worked a day job in the atelier of the architect Le Corbusier (with whom he also ultimately feuded). is not radically new but radically Messiaen said. But what the MOCA show demonstrates is how beautifully Xenakis combined his many sides in his art. Mathematical calculations morphed into extraordinary graphical and architectural structures that could then be translated into music.

Every stage is of great visual and intellectual and, in the musical conclusion, aural interest. Xenakis liked to make outlandish statements and once told me that musicians and not scientists should have discovered the Second Law of Thermodynamics. A noted chemist and fine cellist also told me that assertion was complete bunk. But the rigor of science and structure was obviously way of coping with a ruthless existence. is a mix of science and sound.

I objected to the high volume of rendering, although the crew controlling everything from their laptops defended what they did as realizing intentions with the latest technology. I spent much of the hour listening from afar, where I heard a wash of thick, interesting, living frequencies but was not pummeled by them. Bursts of fire and revolving spots were part of the show, the promised lasers were not. The equipment work. is an exotic masterpiece that sounds as though it not only comes from another time but from another galaxy.

The opera is a70-minute rumination on three plays with two long interruptions by a male singer who frenetically switches between baritone and falsetto. First he is Cassandra strumming on a psaltery foreseeing murder. The second time he is the goddess Athene deciding fate. Otherwise, Xenakis relies ona male and female chorus, and at the end children join in. The orchestra is achamber ensemble in whichswirling figures in the winds, string glissandi on a solo cello, the horrifying brass outbursts and the violent percussion section get yourattention.

The CalArts performance was strong but in some ways wrong. Without text or even a proper synopsis, most ofthe audience most of the time knew something was happening but not what. Silly staging by Marina McClure help. But Mark Menzies got striking playing from the ensemble, and the chorus would have been effective had the student singers not been distracted by meaningless movement. Paul Berkolds was the heroic baritone, although the punishing primal screams finally took their toll.

At the end the children passed out noisemakers, and the tension of controlled chaos became rampant celebration. Understanding Xenakis is a project. But the audience stuck it out, uncomplaining. Then again, the ancient Greeks never knew what the gods were saying at Delphi and the oracle lasted amillennium. mark.swed@latimes.com Michael Robinson Chavez Los Angeles Times WEST COAST PREMIERE: CalArts staged Iannis only opera, at the Wild Beast.

Cold, stern and so very hip Esoteric composer Iannis Xenakis is getting rock star treatment nine years after his death. Agence France-Press FROM 1974: Xenakis, the Greek composer, used mathematical formulations in his compositions. NOTEBOOK MARK SWED MUSIC CRITIC.