Anthropology Publications: Musings on the Palaeolithic Fan Motif Five Constants from an Acheulian compound line The Graphics of Bilzingsleben Phi in the Acheulian
Publications, Film & Artistic Programs The Impact of Fossils Sojournus Antiquitus Pleistocene Coalition

Publications, Film & Artistic Programs

By John Feliks

tn_k&r-actors-feliks1984.gif tn_january-february2010.jpg tn_s-antiquitus-right-feliks1996photo-errington.jpg

(Programs could be ready for production within 1-2 years.)


Below are a few samples of my research papers, films, artistic programs, etc., which, for the most part, have either been published or presented in public performance venues at least once. If one is curious about the variety, the first reason for this is just a natural lifelong interest in many different things. The ultimate turn though which had its seeds in childhood was to consciously choose to follow a non-specialist path and this was inspired in part by artist/scientists of the European Renaissance. It is a path which has its challenges; but the rewards are well worth all of the many sacrifices and are such as true freedom of expression in art and the freedom of exploration in science.

        Additional note: My interest in Fragment has very little to do with the popular action sequences but rather with intriguing aspects that other reviewers usually do not mention. For instance, apart from well-thought-out and innovative scientific ideas (such as the origins of sexual reproduction), Fahy's Fragment, like some of my own work, was inspired by invertebrate fossils.

        This was the final issue of Starlog Cinemagic, the
sci-fi/fantasy special effects magazine. Cinemagic inspired many amateur filmmakers who later went on to produce television programs and Hollywood films, e.g., J. J. Abrams:
Star Trek (2009), Lost, Mission Impossible III. I had the privilege of sharing the pages of this issue with a childhood inspiration, renowned special effects wizard, Ray Harryhausen (Jason and the Argonauts, Earth vs. the Flying Saucers, Clash of the Titans, etc.). Because I have been a long-time Harryhausen fan (in addition to Star Trek fan), I would like to add a couple of things about Harryhausen's work for those who may not recognize his name. Harryhausen is one of the great special effects artists in sci-fi/fantasy having not only created some of the most memorable sci-fi/fantasy films and animated characters but also having influenced the likes of tn_life-is-more-than-k40-feliks1985.gifSteven Spielberg, George Lucas, Tim Burton, Sam Raimi, James Cameron, and many others. I love these quotes from Wikipedia regarding Harryhausen's, Jason and the Argonauts:

"When presenting Harryhausen with a special Academy Award, actor Tom Hanks told Harryhausen 'Lots of people say Casablanca or Citizen Kane is the greatest film of all time... no way, it's Jason and the Argonauts!'" -Wikipedia

"In April 2004, Empire magazine ranked Talos [the 100-foot tall bronze titan in Jason and the Argonauts] as the second best movie monster of all time, after King Kong." -Wikipedia

        DISCLAIMER: In the above two articles, I was thinking more in philosophical terms rather than only about filmstocks and was encouraging filmmakers to be open to new things rather than always following a standard routine. As far as the filmstocks themselves, I was promoting the use of lesser-known Super 8 filmstocks most of which had to be special-ordered such as b&w stocks and those that featured either noticeable grain or subdued pastel-like colors. The idea was that awareness of the filmstock itself would effect the writing, composition and editing choices of a film early on. I was especially encouraging the use of a color stock called SM7244 because of its ethereal or dreamlike quality, as well as high-grain b&w stocks. These were influences from my studies of experimental film and impressionism in music and painting. Unfortunately, one compromise that the Starlog editor made to fit Life Beyond Kodachrome 40 into three pages was to remove my philosophical Introduction in which I compared filmstock choice to equivalent choices in paint mediums (e.g., water color, oil, acrylic, pastels, etc.) explaining why I felt filmmakers should experiment with filmstocks they may have never used, and replace it with a quick paragraph that actually made the opposite statement (i.e. the equivalent of, "wait till the last minute to choose a filmstock"). But since the article was already on its way to press wonderfully laid out and formatted by the editor, I could see how all the extra philosophy wouldn't fit, and had to accept the opening paragraph as it was published.


        A couple of the most influential and inspirational persons to me as an author were two college professors. They inspired me in many ways, but especially for their open-mindedness and thoughtful comments on my first four papers that challenged academic paradigms. Had these professors instead put up a brick wall or gone about hen-pecking (like my experience with the politically-motivated anonymous reviewers in anthropology), then it is likely that I would have taken my creative efforts far away from academia. It is professors like these who are open-minded that help to promote new ideas and new ways of seeing the world. I have included a few of their comments below.

"John, Won't you consider this paper for publication? ...An extremely interesting and coherent work! Fascinating to read - supported by much excellent research. My belief is that no other document exists in this comprehensive form. Wonderfully illustrated and formatted - Seems to be a course in itself. I applaud your...industry and integrity. So what! Now what? This matching Doctoral Dissertations."





1. Discovery in the Minimal Zone
©2001 (2:15) tn_john-feliks_at-a-Gramma-reunion_h90.gif Detroit, c. 1996 piano 4-hands (composed on guitar) instrumental
2. The Cycles of Siluria (aka, Day-Night Cycle)
©2001 (2:48)
piano & synthesizer (composed on guitar) instrumental
3. Autumn Exodus ©1992 (3:20)
MIDI piano vers. composed on guitar instrumental
4. Tower of Babel ©1991 (4:12)
3 classical guitars, 2 voices environmental song
5. Marble Palace
©1988 (4:17) tn_john-feliks_arkansas-c1988_h90.gif War Eagle, Arkansas, c. 1988 classical guitar, bass, vocals love song
6. Men Dream ©1984 (2:06)
guitar, synthesizers, voice life change song
7. Spirit Island (near bottom of external page) ©1981, 1982 (2:13) Poetry, Pietro DiGiorgio; Guitar, John Feliks classical guitar & poetry environmental theme
8. Caress of Change ©1981, 1982 (3:02) Poetry, Pietro DiGiorgio; Guitar, John Feliks classical guitar & poetry environmental theme
9. Dawn of Purity (external page) ©1981, 1982 (1:48) Poetry, Pietro DiGiorgio; Guitar, John Feliks steel-string guitar & poetry environmental theme
10. Eye of a Hurricane (click link for story of this Tullish song)
©1981, 1982 (2:42) tn_john-feliks_kentucky1981_h90.jpg Kentucky, 1981 two acoustic guitars, 2 voices heavy wood song
11. I Know Ya From Someplace (click link for story) ©1979, 1982 (3:17)
classical guitar & 2 voices love song
12. The Storm ©1978, 1980 (4:07)
live classical guitar & voice storm theme song
13. Pretty Lente ©1971, 1973 (3:27)
two guitars, 2 voices love song
14. Reading What the Sky Says ©1981 (2:56)
two guitars, 2 voices mystical song in 5/4
15. 4-Note Canon/Piano Solo 1 ©1977, 2001 (2:48)
two guitar solos transcribed to piano instrumental
16. Born in the Morning
©1975, 1977 (2:40) tn_john-feliks_austin-texas-central-park_may1974_edge-clean_h90.jpg Austin, Texas, Central Park, May 1974 classical guitar, 2 voices Bach-inspired guitar piece,
this version post-personal
trauma lyrics



       In lieu of my homepage and another primary page, which have each been in process on-and-off for a couple of years but never posted, I have simply been adding interlinked pages in whatever way they can somehow fit together, beginning with those related to anthropology. Like the other pages in this interlinked series, this one is new and in the process of tweaking, so please be patient as it goes through changes in content, wording and layout. I am hoping to get the main site up and running soon. It will offer many things that are not science or even fine art-related, lots of surprising and, hopefully, entertaining things, as well as current projects and future plans.

E-mail: feliks (at)
Last updated November 24, 2014. © John Feliks 2009