Film Democratic

Film Democratic

An

Experiment

This film Is an Experiment.
A group of variously talented and interested people. 

A film will be made using a democratic decision making process.

A group of variously talented and interested people.

The only artificial constraints will be the licensing and the intended venue.

A group of variously talented and interested people. 

The licensing will be creative commons.

A group of variously talented and interested people.

All music, Photography, sound and words will be created by the participants.

Film Credits

All participants will be credited equally.

Notes and Video released afterward may document individual contribution.

The Venue

an idealized arthouse theater

as one would find in a large cosmopolitan city.

This film is an experiment  

This will not be a film made by movie people or theater people.

This film is an experiment

It may not be a film that lends itself to to any wide broadcast situation.

This film is an experiment

Volunteers for this experiment

are required to

1. HAVE TIME

     -This is the most important requirement.

One must have hours every week to devote to the project.

 Also there needs to be, especially at the beginning,

times where all participants can meet together.

2.  INTEREST

     – Volunteers must find the idea of being a part of this film compelling.

 So compelling that they actually look forward to doing it.

Cool Things that could happen.

Without any stipulated requirement participants will be

confronted with their own authentic interests.

 By excluding all forms currently broadcast

new opportunities of expression

present themselves.

Learning. Variously talented people collaborating opens opportunities to learn.

Non-hierarchical structure removes all positions of power

 so all participants feel empowered to contribute equally.

#film #Occupy #democracy #artfilm #anarchist #experimentalfilm

“And Not You” A Film By sorax


 

And Not You

All still and moving Photography By soraxtm (sorax)

All Music By Figment Topology (soraxtm (sorax))

All Editing by soraxtm (sorax)

Spoken Word Samples

1.”….Contract and secrete….” From a Physiology Lecture by Dr. Gerald Cizadlo (Dr. C)

2.  “We could wish to be moral, we could wish to be philosophically comforted, in fact, we could will these things with all our might, but the needed power wasn’t there. Our human resources, as marshalled by the will, were not sufficient; they failed utterly”..The Big Book (Alcoholics Anonymous)p.45, We Agnostics

4.”As long as we could believe with Descartes that if we knew something clearly and distinctly, we knew it, we were okay.” Rick Roderick From The Self Under Siege: Philosophy in the 20th Century (1993)  lecture one “The Masters Of Suspicion”. 5.”That’s the problem of false consciousness. That’s why it’s severe. It’s you could be absolutely clear you have no doubt, and it could be a pure abstract cultural mechanism, and not you… and not you” Rick Roderick From The Self Under Siege: Philosophy in the 20th Century (1993)  lecture one “The Masters Of Suspicion”

Art Exhibition:Reticulated Anthropogenesis

This is a collection of information copied from the wikipedia interspersed with some Psychedelic Photographic art pieces.

But first Here is an original  poem Inspired By Salvia Divornium  Followed By a Link to a Short Film

Ok let’s get up I’ll just get the over by this gotta get the
keys are over near the OK NOW i’ll just get out of this.
Wait! Ok I’m sitting here in the car and I have the lighter
and my wallet and I ‘m just gonna get my coat and I’ll be
I am  I’m getting out of the
wait did I just drop
I’m getting out of the car

and here I’m getting out of the car
I’ll just be getting out of the
and there
oh here go the feet
Ah I can breath
I’m getting out of this
I can feel the other thing
coming over the top but It’s not

wait I’m getting out
I’ll just swing my way up out of the car
ah I can breath again
getting out
this is the thing isn’t it
here we go getting out
Hey look
I’m over here I’m getting out
just like you

we all get out
getting out of the car I’m
there see
there
it was
ah I can breath
I’m getting
got out
wow ah
breath deep
now they are all up
all up all over
we got out up
swung right up and popped down here
right next to this car

we all get up
swing
right next to the car see
ah what a deep breath and we swung right up

Short Film FIgment Topology OriFrom !!!!avi

Machine elves (also known as fractal elvesself-transforming elf machines) is a term coined by the late ethnobotanist, writer and philosopher Terence McKenna to describe the apparent entities that are often reported by individuals usingtryptamine-based psychedelic drugs, especially DMT.[1] References to such encounters can be found in many cultures ranging from shamanic traditions of Native Americans to indigenous Australians and African tribes, as well as amongWestern users of these substances.[2]

From Reticulated Anthropogenesis

This concept may be related to a tendency for the brain to imagine living entities during certain altered states[citation needed]. The best example of this is the extremely common feeling of a living presence during sleep paralysis (which has been theorized as the origin of the succubus, as well as a common theme in many alien abduction stories). However, Terence McKenna and Dr. Rick Strassman have both asserted the sense of reality of the experience is distinct from ordinary hallucinatory experiences, leading both researchers to speculate that perhaps the physics of many worlds is involved.[1]Jacques Vallee has proposed that the entities met may be of an interdimensional nature in his interdimensional hypothesis.

From Reticulated Anthropogenesis

James Kent has put forth a different explanation for machine elves.[3] Kent postulates that the DMT landscape is simply disrupting or “editing” our processing of visual information and causing a chaotic interpretation of it inspired by hyperactivephosphene activity. The brain may fill in the blanks and since we all have an affinity for anthropomorphic things, a humanoid entity may appear out of all this chaos. Our “imaginal workplace” will take the center stage in brain activity, allowing internal data to be interpreted as external stimuli.

When reflecting upon his mescaline experiences Aldous Huxley suggested that there was something, which he called Mind at Large, which was filtered by the ordinary functioning of the human brain to produce ordinary experience. [4]

From Reticulated Anthropogenesis

At about minute one or two of a DMT trip, according to McKenna, one may burst through a chrysanthemum-like mandala, and find:

There’s a whole bunch of entities waiting on the other side, saying “How wonderful that you’re here! You come so rarely! We’re so delighted to see you!”

They’re like jewelled self-dribbling basketballs and there are many of them and they come pounding toward you and they will stop in front of you and vibrate, but then they do a very disconcerting thing, which is they jump into your body and then they jump back out again and the whole thing is going on in a high-speed mode where you’re being presented with thousands of details per second and you can’t get a hold on [them ...] and these things are saying “Don’t give in to astonishment”, which is exactly what you want to do. You want to go nuts with how crazy this is, and they say “Don’t do that. Pay attention to what we’re doing”.

What they’re doing is making objects with their voices, singing structures into existence. They offer things to you, saying “Look at this! Look at this!” and as your attention goes towards these objects you realise that what you’re being shown is impossible. It’s not simply intricate, beautiful and hard to manufacture, it’s impossible to make these things. The nearest analogy would be the Fabergé eggs, but these things are like the toys that are scattered around the nursery inside a U.F.O., celestial toys, and the toys themselves appear to be somehow alive and can sing other objects into existence, so what’s happening is this proliferation of elf gifts, which are moving around singing, and they are saying “Do what we are doing” and they are very insistent, and they say “Do it! Do it! Do it!” and you feel like a bubble inside your body beginning to move up toward your mouth, and when it comes out it isn’t sound, it’s vision. You discover that you can pump “stuff” out of your mouth by singing, and they’re urging you to do this. They say “That’s it! That’s it! Keep doing it!”.

We’re now at minute 4.5 [of the trip] and you speak in a kind of glossolalia. There is a spontaneous outpouring of syntax unaccompanied by what is normally called “meaning”. After a minute or so of this the whole thing begins to collapse in on itself and they begin to physically move away from you. Usually their final shot is that they wave goodbye and say “Deja vu! Deja vu!”.

From Reticulated Anthropogenesis

The term psychedelic is derived from the Greek words ψυχή (psyche, “mind”) and δηλείν (delein, “to manifest”), hence “mind-manifesting”, the implication being that psychedelics can access and develop unused potentials of the human mind.[1] The word was coined by Humphrey Osmond, loathed by Richard Schultes, but championed by Timothy Leary.[2]

From Reticulated Anthropogenesis

The word psychedelic (From Ancient Greek ψυχή (psychê) mind, soulδηλος (dêlos)manifest, reveal + -ic) was coined to express the idea of a drug that makes manifest a hidden but real aspect of the mind. It is commonly applied to any drug with perception-altering effects such as LSDpsilocybinDMT2C-Bmescaline and DOB as well as a panoply of othertryptaminesphenethylamines and yet more exotic chemicals.

The term “psychedelic” is used interchangeably with “psychotomimetic” and “hallucinogen”,[4]thus it can refer to a large number of drugs such as classical hallucinogens (LSDpsilocybin,mescaline, etc.), entactogens (e.g. MDMA), cannabinoids and dissociative drugs (e.g.ketamine). The classical hallucinogens are considered to be the representative psychedelics and LSD is generally considered the prototypical psychedelic.[4] In order to refer to the LSD-like psychedelics, scientific authors have used the term “classical hallucinogen” in the sense defined by Glennon (1999): “The classical hallucinogens are agents that meet Hollister’s original definition, but are also agents that: (a) bind at 5-HT2 serotonin receptors, and (b) are recognized by animals trained to discriminate 1-(2,5-dimethoxy-4-methylphenyl)-2-aminopropane (DOM) from vehicle.[5] Otherwise, when the term “psychedelic” is used to refer only to the LSD-like psychedelics (a.k.a. the classical hallucinogens), authors explicitly point that they intend “psychedelic” to be understood according to this more restrictive interpretation (e.g. see Nichols, 2004).[6]

Common herbal and fungal sources of psychedelics include psilocybe mushrooms (largely psilocybe cubensis), variousayahuasca preparations, peyote, Peruvian Torch, and San Pedro cactus.

One explanatory model for the experiences provoked by hallucinogens is the “reducing valve” concept, first articulated inAldous Huxley‘s book The Doors of Perception.[7] In this view, the drugs disable the brain’s “filtering” ability to selectively prevent certain perceptions, emotions, memories and thoughts from ever reaching the conscious mind. This effect has been described as mind expanding, or consciousness expanding, for the drug “expands” the realm of experience available to conscious awareness.[citation needed]

Psychedelic effects can vary depending on the precise drug and dosage, as well as the set and setting. “Trips” range between the short but intense effects of intravenous DMT to the protracted ibogaine experience, which can last for days. Appropriate dosage ranges from extremely low (LSD) to rather high (mescaline). Some drugs, like the auditory hallucinogenDiPT, act specifically to distort a single sense, and others have more diffuse effects on cognition generally. Some are more conducive to solitary experiences, while others are positively empathogenic.

Though the natural drugs have a long history of use and usually have an extensive study profile aside from the mortality rates of the drugs, in recent times there has been large production of hundreds of virtually unstudied psychedelics (JWH-018CP 47,497DPTTFMPP2C-T-72C-HMethyloneN-Methyl-N-isopropyltryptamine (MIPT), and AL-LAD to name a few) that may be potentially harmful. This is especially the case with the designer drugs in the psychedelic-amphetamine class. Because of this factor, one should not make the generalization that all psychedelics can not be potentially harmful at normal doses.

From Reticulated Anthropogenesis

Hallucinogenic substances are among the oldest drugs used by human kind, as hallucinogenic substances naturally occur inmushroomscacti and a variety of other plants. Numerous cultures worldwide have endorsed the use of hallucinogens in medicine, religion and recreation, to varying extents, while some cultures have regulated or outright prohibited their use. In most developed countries today, the possession of many hallucinogens, even those found commonly in nature, is considered a crime punishable by fines, imprisonment or even death. In some countries, such as the United States and theNetherlands, partial deference may be granted to traditional religious use by members of indigenous ethnic minorities such as the Native American Church and the Santo Daime Church. Recently the União do Vegetal, a Christian-based religious sect whose composition is not primarily ethnicity-based, won a United States Supreme Court decision authorizing its use ofayahuasca.

From Freaky

New HD video “Lacan Hangs Up on St. Paul”

Original Music,sound design,cinematography,photography,editing soraxtm

I’m saying that because is it involves the use of some new tool and it finally feels like I had enough varied stuff to put something coherent together.  “If you fail to understand the precise point the film is making than you have not understood it.”


So the name of the Film is

You may wonder how this related to the material but given the constraints of time I have decided to construct a longer more ruminated on piece of “film” and therefore certain aspects may only become concrete after a few episodes.
You may also question the style of the video and my only comment there is that time is what is needed.  Time and huge embracing screens or isolation tanks filled with salt and wired for video.

Words

“Some have asked if I did not feel lonesome”
“If there were anyone else”

Henry David Thoreau Walden
From the Librivox recording

“Leading A modest life in an Idyllic fake… ….staged to keep him satisfied.”

Is not the ultimate American paranoiac fantasy that of an individual living in a small idyllic Californian city, a consummerist paradise, who suddenly starts to suspect that the world he lives in is a fake, a spectatle staged to convince him that he lives in a real world, while all people around him are effectively actors and extras in a gigantic show? The most recent example of this is Peter Weir’s The Truman Show (1998), with Jim Carrey playing the small town clerk who gradually discovers the truth that he is the hero of a 24-hours permanent TV show: his hometown is constructed on a a gigantic studio set, with cameras following him permanently. Sloterdijk’s “sphere” is here literally realized, as the gigantic metal sphere that envelopes and isolates the entire city. This final shot of The Truman Show may seem to enact the liberating experience of breaking out from the ideological suture of the enclosed universe into its outside, invisible from the ideological inside. However, what if it is precisely this “happy” denouement of the film (let us not forget: applauded by the millions around the world watching the last minutes of the show), with the hero breaking out and, as we are led to believe, soon to join his true love (so that we have again the formula of the production of the couple!), that is ideology at its purest? What if ideology resides in the very belief that, outside the closure of the finite universe, there is some “true reality” to be entered?(2)

Text by Slavoj Žižek As read by a computer(apparently).
It refers to the Phillip Dick Novel “Time Out Of Joint”
Which was a really neat book about this dude who does crosswords or some other mindless thing unawares that he is also somehow determining the launching trajectory of these missiles that are being fired at the moon.

“Classically in philosophy there was a distinction drawn between
Being with a capital B,
Which a philosophical way of writing the word God or Fundamental Entity
Being Big B.
and
being/entity
one among which is dasein
Heidegger, However,and I don’t want to mislead you because many readers have been mislead
Heidegger
is no humanist.”

Rick Roderick From his lecture series Titled””Self under Siege” lecture series”(I’ll note where it is next time i hear it if needed)

Man-It’s beautiful here
I can see the whole valley

Woman-yes and there’s our cottage down there
it’s time to go back isn’t it

Man-“Yes.
but we’re not going
there is nothing there for us.
ah the town’s empty no ones going back
there’s no reason to…none at all…

Such odd
such ridiculous houses”

Woman- “such ugly people I’m glad their gone”

Man- “Gone?

Where did they go?”

Woman-“I don’t know?

Man-“We’ll go back to town maybe next year,
or the year after that”

Woman-
Or, maybe the year after that

Man- Maybe?

c’mon

let’s take a swim”

Review of Mcelwee’s “Bright Leaves”

The director’s first Film Sherman’s March was inspiring as a laid back slice of neurosis.  It was also, it would seem, a landmark of fourth wall destruction.  What a shame that  Mcelwee is such a lame cinematographer because he gets so many chances to set up different scenes in various lighting conditions.  Another problem is his limited vision, this particular movie combined a fairly shallow american anti smoking ethos with a simpleminded muddled ode to his specific family. I get the feeling it was just dumb luck his first film struck a chord and he doesn’t want to risk or is to lazy to try anything new.  I think the audiences are mistaking an absence of voice for intentional ambiguity.