2008 : this pov.vtheatre.net is supposed to be POV2.0...
I thought I could open the future by see the shadows of Russian light on the electronic wall.
No. I give up. Last day of 2008, even the last hour before 2009.
new : youtube.com/group/pomo
Yes, I have the time to finish my texts, because I lost interest for everything else.
Each "chapter" has a story in it, as long as there is thought present. And I have to find the form of this thought in pictures...
Theology of Technology
* My classes pages are to serve film600 files, and therefore POV...
I am to stick with my genre "Based on Fiction" (NonFiction Novel) and let in non-scholastic elements (character, dialogue, scenes, pictures). I need it to keep going.
Visual culture answered all the questions of post-modernity. Language of resurrection is the Spectacle. Actualization is only years away, technology will make fiction more impressive that reality ever could be. Dramatic and safe! Besides, who said that we prefer life v. "experience of living"? Reality of my fantasies is not a fake world. Objective reality is only a material for dreams.
Like in elementary physics, the more pressure we put on, the bigger resistance we witness. More so in the modern physics of super-speed when my weight is measured by the inertia of the movement I enjoy. The humanity crossed the sound and perhaps the light speed barrier of evolution. We extended our bodies to the full globalization. What do you think it does to my inner world?
Oh, the language as we know it is too slow! I want telepathy! That's it! The instant.... The movies.
Our narrator is the history of extremes -- Prince of Light, Prince of Darkness.... and now?
In the web version I connect pages to educational directies -- film, theatre, writing.
More graphics! For the web-version.
I hope that by now you understand that everything I do is the notes! Notes on thoughts, notes on notes -- basically, recording, like that camera at 7/11. I cannot write, I only know how to write it down. Honestly, I don't think it's possible to write anything anymore. I take a book and, if I see it's "written" -- I can't read it! What the hell! Why can't you simply give it to me -- whatever you have to say. Drop the BS, tell it the way it is!
Well, I even have my problems with poetry, not the good poems and poets, of course. Why can't you think straight and think new -- and this would be good enough for me. "Notes" are from "notice" -- you don't have to invent or discover things, just notice them. So, I write notes, the things I noticed. Sometimes it takes a lot of pages to write one single simple note.
SummaryThis bar "topics" (top) I have on all my pages is new: I needed it to redirect myself from the subjects (shot, cut, acting, directing and etc.) to themes (thoughts-emotions). Or should I say -- "concepts of practice"? Well, I use two approaches: "dramatic" in script.vtheatre.net and "filmic" in Film600. Consider the first as "thought" and second as "feeling" analysis.
Anatoly, is this something we have to study for tests?
NotesLucifer is dream-maker, filmmaker... If I'll have time, I should come back and write the scenes, the stories.
I will try to move as much as I can to film classes and Film600 pages, leaving here only the prose.
Does it mean that I will be working on more "textbooks"? Film books? I didn't plan to, but this is what I am doing...
Move, move out more texts to my "class" pages (like THR334 Film Analysis).
...Angels and machines learn from me. How to desire and dispare. What can I learn from them? The disregard for mortality and indifference to myself.
HISTORY OF A STORYLucifer, the Vision Itself, both the light and the darkness. We didn't have to talk -- we were exchanging dreans and vision. We show what we see. If you can't see, it doesn't exist. Everything must be shown and every secret must be made public -- only then the true mystery would be reviled. Us, the ones who dream and show it all.
The investigation of an icon. St. George? ETHIOPIC and RUBLEV. Archaeology or detective mystery? If only I can slow write about it, I would be able to say everything I need. But I can't. I am POMO. I have to move all the time.
Realistic painting as a prelude for photography. Mimetic preparation in Europe. Montage was left to literature. Framing v. cuts. Impressionists: almost motion pictures. German expressionists and gothic mind. Centuries of preparation for FILM.
Andrey Rublev: Man without Camera.
I write, I paint -- why do I have a film degree? Investigating my own motives. Interesting.
How are VP and the Film600 are related?
How much (and what) can be used for Virtual Theatre Special Topics Classs in the Spring (2001)?
Two thousand years of film-making before we invented the camera (some of it in 200X Aesthtics).
Maybe I am wrong and this is not a book, but webtexts. Should I hyperlink them, adding graphic, sound, video files?
Editing having this format in mind, not the hard copy.
Work on the template for this project.
.... Walter Benjamin's method of illuminations and fragments, which creates constellations of ideas and images to illuminate specific phenomena and events.
Before I can work on the chapters, I have to fix the entrance and the end of the book.
Bring the Notes from GeoAlaska into the texts!
-- comments on POMO terminology.
NB. Every time you see [ image ], it means that I didn't find it... but I know that I need it.
@2000-2004 and beyond film-north NEXT: TECH©2004 filmplus.org *
texts: ... filmplus.org/kino [ru]
in focus: semio
(c)2006 anatoly.org Lijit Search