quarta-feira, dezembro 30, 2009
"To Infinity and Beyond: The Buzz Lightyear's Gnosis
Disney XD Freestyle Football: There is a Techgnostic Project for Football?
Disney XD Freestyle Football:
A Brief Gnostic History of the Spontaneity in the Entertainment Industry (Part 2)
The result of this vicious cycle is boredom in front of the media who can no longer show spontaneous events, but people producing events, gestures, attitudes to attract the attention of the media, following scripts and languages developed by themselves.
Stars, celebrities, pin-ups, children and animals in film, TV and advertising no longer sufficient to inject something spiritual and spontaneous structures cliche of the various media genres.
But something new was on the horizon of culture with the literary tradition of American realism. F. Scott Fitzgerald and Ernest Hemingway have presented their works in the intellectual rebellion with the disillusionment caused by wars and economic depression: characters who experience the splendor and despair as in "The Great Gatsby" by Fitzgerald, and Hemingway, tough players (soldiers, bullfighters, athletes) and intellectuals disillusioned.
This search for authenticity and realism flows into the blossoming of the individual in American literature with names such as Tennessee Williams and Allen Ginsberg. Emotional disorders within the family in Williams and "spontaneous bop prose" of Ginsberg with reports of wandering lives, characters and tuned at the same time mystical and reject the conventions fired the imagination of young readers, preparing the ground for the counterculture in the decade to come 60.
These changes of the cultural scene make the entertainment industry look at the spontaneous "authenticity", no longer in the representation of emotions, but on "authentic emotions," "gross" and hampering all paradigms of the Star System and celebrities. Perhaps the embryo of this paradigm shift is in the famous "Method" of the Actors Studio.
The entertainment industry will create the most invasive and damaging to prospect and capture the spontaneity: the blurring of boundaries between public and private
Built in New York in 1947, from a particular reading of the theory of Stanislavsky actor in the Actors Studio creates the proposal that the actor must not only represent, but being the character itself from a complex method consists of physical exercises or psychological. To give authenticity to the genuine spirit and thought-forms which are characters, the actor should boot from your psyche several archetypal personas. The brilliance and magnetism revolutionary Marlon Brando and James Dean (graduates of the Actors Studio) in the 50 expose a kind of animism of the actor: as in Spiritualism is called animism interference of the spirit and feelings of the medium in communication (in fact, are the personas that speak of the medium and not a spirit), we see movies in theaters and characters whose strength comes from the actor's own psyche. We have here the model of the binding energies Gnostic soul ("productive spontaneity") by moving to the thought-forms and structures created by the Demiurge.
The result can be both schizophrenic behavior of the actor (the identity is diluted in the range of archetypal personas needed to give life to different characters) or the actor who plays himself.
The entertainment industry creates the most invasive and damaging to prospect and capture the spontaneity: the blurring of boundaries between public and private, fiction and reality. Henceforth, private perversions will be transformed into public virtues. If the scheme of celebrity scandals events were designed to methodically gain visibility in the media, these scandals now earn spontaneity and authenticity: when interpreting themselves, actors, presenters, and different characters to extend media fiction to privacy.
For example, actors like Jack Nicholson (also graduate from the Actors Studio), Juliette Lewis and Mickey Rourkey extend privacy problems of misfit characters and potentially psychotic experienced by them on screen (and are keen to expose this on channels like E! Entertainment ). Or is it the opposite, the "authenticity" of their performances fiction being fed by the dark aspects of their psyches?
This experiment fired the imaginations of the entertainment industry. It is the embodiment of Gnostic mythology that narrates the Demiurge trapping the man in reality artificially constructed to monitor it, scrutinize it, to systematically monitor the expression of spontaneous and authentic (particles of light) to seduce him, and finally isolate it and exploited it.
Themed films critically as Gnostics City of Ember (Dark City, 1998) and Truman Show (Truman Show, 1998) the rapid growth of Realities Show (and variations such as "MythBusters," "VCR" or "The People Speak "), inspired by the Oracle design expands the trend of merging public / private, fiction / reality: scan all perversions to expose publicly how private virtues, authenticity, spontaneity. Compulsion, impulsivity, hypocrisy, alienation, paranoia, psychosis, etc.., Emerging media of individuals in environments artificially created, is the spiritual spontaneity (particles of light) converted into productive and regressive ways to maintain the entertainment industry.
The complex media is ultimately the cheapest solution, fast and profitable to capture the spontaneity: no actors, methods or complex strategies scenic or theatrical. Pick up ordinary people or celebrities and candidates in confined environments or artificially constructed and exposed on camera, caught by surprise.
In the end, the audience is identified and laughs sardonically these situations because, after all, is the materialization of all the Gnostic mythology of the human condition in this world, exiles and prisoners, observed by a Demiurge that seduces with the possibility of purchasing power who withdraws from the situation.
Ethical spontaneity would be free themselves in the game and play. But that would explode the logical structures of entertainment designed to channel these energies to a spiritual purpose and lucrative market. Perhaps, as provocatively claimed the French critic Jean Baudrillard, in actuality the only spontaneity is in absolute terror for political or strategic futility of these acts: do not seek the seizure of power, not to be to attract the concentric waves of media blasting (literally) scripts of the motivations of rational policy.
terça-feira, dezembro 29, 2009
Carthography and Topography of Mind: From "Vanilla Sky" to Tim Burton's "Alice in Wonderland"
"There are maps´to anywhere: chromosomes, galaxies, the brain, the cell, the spaces between atoms, cracks in the double helix, the edges of time. If maps invitations travels, these new maps inspire journeys of an altogether different, more associative sort. At the same time, they still connect to our traditional geographies, and are potential destinations of the orientating process; They lend themselves to a form of bushwhacking that is more interior, philosophic, imaginative" " (HALL, Stephen. "I, Mercator, IN: HARMON, Catherine. You Are Here: Personal Geographies and Other Maps of the Imagination. New York: Princeton Architectural Press, 2004, p. 17.)
"Alice in Wonderland" and Sophia: The Gnostic Hero's Journey
The New Tim Burton's "Alice": Enterprising Entrepreneurial
Credits:
- Title: Alice in Wonderland
- Director: Tim Burton
- Screenplay: Linda Woolverton (based on the books of Lewis Carroll's "Alice in Wonderland" and "Alice Through the Looking Glass")
- Cast: Johnny Depp, Mia Wasikowska, Helena Bonham Carter, Anne Hathaway, Crispin Glover.
- Production / Distribution: Walt Disney Pictures
- Year: 2010
- Country: USA
A Brief Gnostic History of the Spontaneity in the Entertainment Industry (Part 1)
Well, it is now draw a short history of spontaneity in mass culture, trying to map out the stages and strategies by which the spontaneity of the public is properly represented in the products and
But before that, we must define what we mean by "spontaneity." For the Gnostic mythology is the way in which the particles of light (memories of our true origins not in this cosmos, but in the Pleroma) are manifested in daily life: happiness, good faith provision, brightness, vitality, confidence, etc.., Ie , feelings and dispositions that set in motion our lives not in an instrumental sense (in terms of goals, objectives, efficiency, or "positive thinking", as recommended by the literature of self-help). Rather, we take the spontaneity in the aspect of "game" and "playful."
By referring this concept to this world, immediate recall of children's play, where even spontaneity expresses itself freely. But we play the game and not in the sense that the adult does as "irresponsible happy" or "something not serious." Richard Sennett for the game is serious business:
"(...) Is the principle that leads the child to invest a lot of passion in a situation driven by impersonal rules and consider the expression in this situation as a matter of redoing and refine these rules to give pleasure and promote a greater sociability with other "(Sennett, Richard. The Decline of Public Man, S. Paulo: Companhia das Letras, 1988, p. 384.)
In the game children invest a lot of passion in absolutely impersonal rules, create a fantasy world to create pleasure and sociability. Serious about the game not in the sense of seeking instrumental or tactical victory methodically trying to understand the rules to understand the mechanics of the game and never lose. In the game we accept the experience, whether good or bad, win or lose. The passion is the development of rules (where the longer the game more fun) and not the ultimate goal Unlike the adult experience denies hiding in structures or strategies that will keep you protected from the threat of the experiment (uncertainty, loss , etc..) Hidden in the cliche to escape the unpredictable and dangerous.
For Neal Gabler in his book "Life: The Movie" as the entertainment industry and more than that, as a phenomenon that will structure the experience itself, appears in the U.S.. Like Swiss chocolate exports tulips and Holland, the U.S. will export entertainment.
Its origins are perhaps deeper in evangelical Protestantism, whose religious practice was in itself quite amusing: faithful taken by fits of catalepsy, convulsions, visions, explosions of laughter and singing, and sermons full of bizarre stories, reports of murders and deformities to that the faithful feel the bones themselves hope, conviction and guilt. These stories later massed in tabloids and popular literature, would be the extent of this religious phenomenon typically American.
Here, the entertainment is associated with sensations: the unusual, the bizarre, the unexpected. These spontaneous demonstrations of daily life are associated with the Fantastic, the Mystery. Parks and circuses of varieties that exposed human strains will be the basis of the archetypes and iconography of modern horror movies and suspense that will move the structures cliche these genres.
With the coming of photography, film and later TV, this potential sensational imagery and theatrical entertainment takes place technologically. In this first phase of visual and audiovisual means, when there was still a structured language for business, we have the presence of spontaneous yet the relationship "awkward" or "dysfunctional" man with new technology then.
For example, in photographs of the nineteenth century people seem to be more clumsy than the current photos of them still have not in mind the notion of posing and lighting. Indeed, most pictures were spontaneous than the present.
In the cinema there was still room to director-actor relationship is not codified by the pace of the assembly line. For example, in the autobiography of actress Mae Marsch she gives an account of instructions given by director DW Griffith in a scene in which she would represent fear and panic. A conventional director would say "Scream".
"Mr. Griffith, by contrast, asked me if I had ever felt in life fear or fright. Yes, I said. 'What did you do then,' asked me to follow. 'I started laughing,' I replied. He knew immediately what it was (...) I believe the hysterical laughter was far more expressive than the eyes or turning back the tears. "(Quoted by PROKOP, Dieter." The Working with Stereotypes: the films of DW Griffith "In: MARCONDES SON (ed.) Dieter Prokop. Colection Greats Social Scientists, New York: Attica, p.64.)
The first strategy was the creation of the Star System or the promotion of actors as "stars" (to the Gnostic view of the expression is not mere coincidence: it expresses the secret desire to catch the light, "star" shine, to put into motion the entertainment). The producers soon realized that the public recognize their favorite actors and gave them affectionate nicknames (Mary Pickford "Girl of clusters" - see photo opposite - Jane Harlow to "venus platinum). Soon these players turn into stars while exploring the public's fascination with the idiosyncrasies or spontaneous or unique features, turning them into gods of Olympus, that is, "Olympians."
This will create a vicious cycle, a trap for the entertainment industry in the quest for spontaneity:
"The result was to transform society into a gigantic Heisenberg effect, in which the media were not reporting what people did, he was reporting what people did to get media attention. In other words, as the life was being lived increasingly to the media, this was increasingly covering itself and its impact on life "(Gable, Neal. Life, the Movie. São Paulo: Companhia das Letters, 1999, p. 97).
In fact, celebrities, with their poses, like playing the hair, mouths with lips between open-etc., Will play the cliche imagery of cinema and advertising.
If the film explored the spontaneity through the Star System, the advertising will get the spontaneous eroticism, children and animals. When Marilyn Monroe, perhaps one of the first celebrities, exposed himself with his fri appeal to capture the attention of cameras and lenses, have replied faces and, once spontaneous repertoire of advertising imagery pin ups.
The entertainment industry creates a trap for itself, an unexpected side effect: every effort to capture the spontaneity of everyday situations in film and advertising (as in images of Norman Rockwell trying to capture snapshots of the routine life style on the covers of the U.S. " Saturday Evening Post ") resulted in a repertoire of iconography, true tactics to attract the attention of reporters, producers and promoteurs. And not just in the field of shallow celebrities. Political and economic events occurring in exaggerated tones to match the script of fictional dramas and attract the attention of the media. The terrorist events are those that best demonstrate this thesis.
The practice journalist more concerned with "language" than the fact demonstrates this: the reporter becomes a stage director, leading the interviewee or the fact to make it more "newsworthy", "telegenic" or "exciting".
As a result, the spontaneity disappears and the entertainment industry reaches dangerously out of boredom, inertia and loss of interest. It was necessary to renew the search strategies for new media types, situations, sensations and snapshots. But that is subject to the next post.
Related Posts:
"Because we know you have something special", says the Demiurge
Originated from a Anthropos that fell in this material universe in time immemorial as tragic result of a cosmic battle between the realms of Light (Pleroma) and the Demiurge, the man is constantly seduced by the illusions created by the Archons materials.
The Archons, or "small regents" as described in the Gnostic narratives, are malicious angels created by the Demiurge to assist, through the arms of evil and deception, to keep the man trapped inside the circles of matter. They have the ability to dodge through religion, science or reason and the ability to seduce through the sensuality or the symbols of power.
All because the creation of the Demiurge is an incompleteness in the architecture of cosmic creation: it does not create the world directly, but only one model ethereal, lacking the energy for this building that the anime: the Spirit or Light He is looking for element that animates the material cosmos, the Light that is mixed with darkness. Originated in the realms of heights (the Pleroma), the mixture is light in darkness because the human being, unconsciously, the holds. Therefore, the Demiurge attempts to apprehend them to extract from it the element which was organized by the principles of the physical cosmos corrupted, complete the gap in its creation.
The media and the entertainment industry seem to play in this micro-macro cosmic incompleteness. As another tool of the Demiurge (after all, the media and entertainment industries are the perfect fusion between Religion and Science, Technology and Sorcery - or fetishism), it is pure form, cliche, stereotype, merchandise. It's just a template that requires something the anime, which put into motion: the energy, spontaneity, innocence, etc.. In other words, you need the particles of light, or what makes each of us unique, brilliant and spiritually connected to our ancestral origins, the Pleroma.
The slogan of the contest of children's channel Discovery Kids "because we know you have something special" is very suggestive and gives food for thought in these terms Gnostics. The tone of the event on Discovery Kids is convening and urgent: "We are looking for presenters like you." The name of the competition is enticing: "Join the contract Turn to Star."
More than seduce through the imaginary narcissistic-exhibitionistic-voyeuristic (become a "star"), the entertainment industry looking for different ways to recruit people who have touched the spiritual energy necessary to give life to the empty forms and static products cultural.
This spiritual energy or particle of light in each one of us is manifested in daily life by spontaneity, innocence and good faith, kindness, compassion, joy, devotion and integrity of purpose. Gnosis was the inner search for spiritual meaning of these daily manifestations of the particles of light that animate the spirit. Understand that through gnosis means confrontation with the physical cosmos in which we are imprisoned, since these energies transcend or may not be contained by the roles or social norms or policies.
But the whole process seductive entertainment industry is to convince us that this truth is already present in every one of us are not enough. You must turn in the media image. Just as for many parents the child is not enough owls only exists, but states that its existence to become in-picture (turn the child into advertising model, upload videos to websites or children eagerly waiting to appear on TV channels). It is indeed the manifestation that the entertainment industry need to channel these energies to enliven the cliches and stereotypes.
Many researchers in the line of Critical Theory have realized this perverse dynamic. For example, Theodor Adorno understood the dynamic between the standardized forms of cultural industries and spontaneity required to give motion. Mainly in their analysis of popular music, Adorno understood the tension between the potentially emancipatory standard (the leitmotif and melody in music) and elements potentially spiritual, or transcendent energy (the atonal, the counter-point, etc...) So much so that your final project (abbreviated by death), represented by the book "Negative Dialectics", would be to scrutinize the spontaneity present in the masses, beyond the static models of the cultural industry.
The German Dieter Prokop tried to continue this insight of Adorno on the discussion of "boredom and fascination in cultural products". This passage is very interesting reflection on our Gnostic thinking:
"Fascinating is a certain carefree independence in certain representations and actions of men and women singers of hits: a sincere pleasure to represent, a firmness, a contentment with himself, a failure, acts of self-representation demonstrated unwavering narcissistic in a way that arouses admiration and envy (PROKOP, Dieter. Dieter Prokop, Large Collection Social Scientists, New York: Attica, 1987, p. 150).
The contest of Discovery Kids is emblematic. Your emergency tone and seems to denounce the secret recruitment needs of the entertainment industry: just as the Demiurge in the cosmic field, the Archons in the field of micro media seek spiritual light and energy of each of us to put into motion a flawed design and static. Fascinated, we are seduced by the stars as if they were special people, chosen and anointed, not knowing that in each of us also have this "anima". However, we are led to believe that we are empty and dependent on that energy transmitted by the media, when in fact we have exactly the opposite.
I believe one of the most accurate translations filmic reality is that in the film "Mad City" (1997) from director Costa Gavras. Known for movies with plots of strong political overtones in this movie she puts the media in question, but not only in the most immediate political aspect: it goes further, exploring metaphysical dimensions.
Sam Baily (John Travolta), desperate to have been fired from his job as a security guard, returns to his place of employment (Museum of Natural History) to try to enter into an agreement with her employer (the curator of the museum Mrs. Banks - Blythe Danner ). Intending to intimidate her, and Sam comes armed with a bag full of dynamite. Max Breckett (Dustin Hoffman - a journalist at a low after being punished by the TV network where he worked with the downgrade to a regional station) is in the museum when she accidentally Sam fires his gun hitting another security that comes staggering into the street. In response, Sam takes everyone hostage at the museum (children visiting the museum at the time and Mrs Banks). Max has a handy scoop that you can do it again to return to journalism's national broadcaster.
Since then, Max will do anything to drive the story to national impact, creating a media circus around the museum. Sam, a naive and common resident of a typical country town, finds himself enmeshed in a web of interests that has the media as the center of everything.
Why the media is interested in personal drama of Sam Bailey? At 35 years and without a job feels finished and no prospects. Hidden wife's job loss, trying to solve it yourself. Melancholy and impotent before the facts of life (and no study has not found intelligent or smart), sees in the media (personified by the "news of the boy," Max Breckett) the only way for an exit. Max says he is popular and friendly to the public. For Sam, Max becomes his personal agent. Think of a book on the history, a TV movie and even a show about fishing, "Sam's Fishing Corner." Like Max, Sam is betrayed by the game media. Sam is naive and spontaneous, raw material required in any media to show, then this inner essence to be corrupted by the script and protocols of the fictional script.
Max: why not study?
Sam: I had no money ... and it seems that was not very smart
Max: I did not study too ... could not afford
Sam: How is that done to be so smart?
Max: say thanks to my charm ... is something you have
Sam: charm?
Max: charm, personality
Sam: in this case could spark a television program?
Max: Why not? It is even famous!
Sam: yes, but famous in the wrong direction
Max: It does not matter in television. They know who he is.