Pijama Surf

9 | enero | 2013 Contacto Publicidad Manifiesto Servicios Newsletter Foros Facebook Youtube Twitter RSS Poltica Copula Poltica e-Politics Elecciones Guerras Lderes mundiales Manipulacion Natura Alimento Animales acuticos Animales y conservacin Aves Basura / Reciclaje Cambio Climtico Desastres naturales Eco proyectos Ecocidios Ecotrends Energa alternativa Fenmenos naturales Insectos Maravillas y paisajes Minerales y cristales Reino vegetal Sustentabilidad Economa Corporaciones Innovacin Venture cap

Mercado Global Wall Street mafia Medios / Internet Buscadores Estadsticas tica periodstica Legislacin web Redes Sociales Silicon Valley Tendencias Twitter Web buzz Sci-Tech Futurismo Gentica Neurociencia Pop Cosmos Quantum days Sociedad Activismo Civil Crmenes Demografa Educacin Religin Deportes Deportes extremos Futbol Ms deportes Surf Arte / Cultura Arqueologa Arquitectura Arte audiovisual Arte contemporneo Arte sagrado Arte Urbano Cine Fotografa Literatura Plastica Soniricall Web Art Lifestyle Alrededor del mundo Espacios

Fashion Gadgets Gastronoma Narcocultura Publicidad Turismo alternativo Teoras de la Conspiracin 2012 Agendas Ocultas Control mental Illuminati Nuevo Orden Mundial Piedra filosofal Sincromisticismo Raramour Monstruos y quimeras Noticias raras Ovnis Extraterrestres Paranormal AlterCultura Alter existencia Cibercultura Hacking Mavericks Underground Drogas Legalizacin Plantas Psiconutica Qumicos Salud Big Pharma Enfermedades y virus Espritu-cuerpo Mente Psicologa y Sueos Sanacin Sexualidad Tecnosalud Entretenimiento Humor Nias sexy en las noticias Pop Penumbra Porno Top Models

Videojuegos Web Celebrities Blogs Aether Bit F de Fake Fotogaleras Pijamasurf TV

El cine, la gran tecnologa para capturar la atencin y externalizar la conciencia

Inicio > AlterCultura Autor: Aleph de Pourtales Publicacin: 11/12/2012 11:10 pm
6

Tw eet

177
Share

Mename

Un nuevo video Jason Silva sobre la capacidad del cine de capturar la atencin hasta el punto de que el espectador desdobla su conciencia en la narrativa que observa nos hace reflexionar sobre el poder de esta tecnologa, que los grandes estudios siempre han llamado la magia del cine y el sistema de estrellas.

El filsofo-performer Jason Silva est de regreso con un nuevo video en el que dosifica epifanas en su infatigable bsqueda de informacin inspiradora, que idealmente nos lleve a maravillarnos del universo y a elevar nuestra conciencia bajo este acto de asombro fundamental. En este caso el tema es el cine y la atencin. La atencin es necesaria para todo tipo de persuasin interpersonal, educacin, transformaicon o crecimiento y requiere inmersin, absorcin el cine es la gran tecnologia retorica para capturar atencin, el cine es un templo a la inmersin el contrar historias cuando ves un pelcula te conviertes en parte de la pelcula, esto es lo que llaman el efecto diegtico, el punto en el que el observador asume el punto de vista de la historia y empieza a cocrear el mundo [que ve] entras al sueo, la pelcula se vuelve real, dice Silva, entre imgenes que siempre nos incrustan en el espacio de la Fundacin Imaginaria de la neurona a la nebulosa. Existen estudios, cita Silva, en los que la actividad en el lbulo prefrontal, el asiento de la autoconciencia, disminuye al ver una pelcula en el cine, lo que sugiere que en realidad si ocurre un desdoblamiento de nuestra conciencia al ver una pelciula, que nos convertimos en el personaje, en esa vieja transpersonalizacin entre el hroe y el espectador. La experiencia del cine es induduablemente inmersiva, uno dira de interpenetracin mental o de fusin en un campo mental resonante entre la obra y el pblico. Una enigmtica frase de F. Scott Fitzgerald, el cine nos ha robado nuestros sueos hace pensar que verdaderamente nuestra mente se vuelca sobre la narrativa de una pelcula, como si no hubiera verdadera pantalla, atravesando el espejo. Y es que el cine lo medios como extensin de nuestros sentidosquizs sea la ms clara extensin de nuestros sueos, de nuestro espacio onrico. Y nuestros mitos ahora esos sueos colectivos se introyectan como sueos con celebridades e historias que vemos en el cine son parte de nuestro substrato psquico. Dice Calasso: Habra que decidirnos un da a entender que las stars son astros, al igual que Andrmeda y las Plyades y muchas otras figuras de la mitologa clsica. Slo si se reconoce este cmun origen astral y fantasmal, se podr llegar a comprender cules son las diferencias y las distancias tambin ellas estelares entre Sunset Boulevard y el Olimpo.

Esto ocurre de manera bidireccional, primero hombre proyecta sus sueos hacia una pantalla, como escribi Gene Youngblood en Expanded Cinema: El cine como la vida misma, es un proceso de devenir, parte del continuo impulso histrico del hombre por manifestar su conciencia fuera de su mente, frente a sus ojos. Luego esa pantalla que es tambin un cristal donde se mira le regresa imgenes de s mismo imgenes sublimes y monstruosas, distorsionadas/perfeccionadas que interactan con su propia imaginaria y con su propio subconsciente el gran generador de poderosas imgenes y smbolos. Este es el juego de la linterna mgica, donde el hombre se pierde y se reinventa, juega a ser un demiurgo y a veces se enamora de la copia. Jason Silva sobre el poder teraputico del cine y el video en Faena Sphere Twitter del autor: @alepholo ENVIAR POR MAIL IMPRIMIR TAMAO DE TEXTO

Notas de AlterCultura

Es el sexo el verdadero motor evolutivo de nuestra inteligencia?

Recordando vidas pasadas (una breve historia de la creencia en la

TAGS
cine, Jason SIlva, neurociencia, neurocine, psicologa y cine, Sobre el sacrificio: la creacin a travs del suicidio divino (Primera Videos COMENTARIOS

2 Comentarios
jess dice: 13/12/2012 a las 6:32 pm In his new book The Big Screen: The Story of the Movies, film historian David Thomson seriously poses the question of whether our collective and alienating addiction to the multitude of screens (televisions, phones, tablet computers, etc.) that increasingly keep us buffered from the existential reality of the world and people around us may not be directly traceable to the birth and epochal influence of the first and biggest screen of them all. He makes the point concisely in a recent, brief essay for The Independent, excerpted below. This is powerful, thought-provoking, disturbing stuff. And note that the title of Thomsons book in its American edition, as given above, has been altered to tone down that quality of disturbingness; in its British release, the books subtitle is much more descriptive of its ominous message: The Big Screen: The Story of the Movies and What They Did to Us. Cinema has changed us all: The birth of alienation by DAVID THOMSON TheIndependent.co.uk In his autobiography, The Words (1964), Jean-Paul Sartre described his discovery of cinema as a child. He would have been 10 years old in 1915 when The Birth of a Nation opened. But he hardly noticed particular films at first. What he saw or felt was something he called the frenzy on the wall. That could have been a reaction to the brilliant battle scenes in Griffiths films, but it also covers the still face of Garbo absorbing romantic loss, or the stoic blankness of Buster Keaton baffled by the physical chaos around him. The frenzy was in the whirl with which projected film ran at 16 or 24 frames a second, a passage of time that seethed on the wall and, paradoxically, the serenity of another reality. That was the inherent madness and the magic in cinema: that we watch the battle but never risk hurt, and spy on Garbo without having her notice us. At first, the magic was overwhelming: in 1895, the first audiences for the Lumire brothers films feared that an approaching steam engine was going to come out of the screen and hit them. That gullibility passed off like morning mist, though observing the shower in Psycho (1960) we still seem to feel the impact of the knife. That scene is very frightening, but we know were not supposed to get up and rescue Janet Leigh. In a similar way, we can watch the surreal imagery of the devastation at Fukushima, or wherever, and whisper to ourselves that its terrible and tragic, but not happening to us. How large a step is it from that denial of our full selfhood to the wry passivity with which we observe global warming, economic collapse and a new freelance nuclear age as portents of an end to a world that is beyond us? Pioneers of film, such as D W Griffith, Chaplin and Abel Gance, hoped that the movie would make a single population in the world angry or moved enough to share liberty and opportunity and end war and intolerance. But perhaps it has made for a society of voyeurs who associate their own hiding in the dark with the safe futility of dealing with the screens frenzy. So the world is chaotic and nearing ruin, but not for us not yet. And so we talk of democracy still in a scheme that is intent on us purchasing anything and overlooking everything else. The book I have just written, The Big Screen, is an attempt to deal with this condition. For decades, we told ourselves we were watching film and its illusion of reality. And so we treated movies as if they were theatre or novels given this extra investment and the kicker of sensation of being there. The first measuring stick of the

system was what made the most money. Thats how The Birth of a Nation was the birth of a business. Though the president at the time, Woodrow Wilson, is supposed to have said, It is like writing history with lightning, which is in the category of things you still read in movie ads or the exhortations of film professors trying to make the young believe that the best movies are akin to Dickens, Henry James or Proust. Confession: Ive done my own share in that attempt. As writer and teacher I have tried to say this film and that one are really good (and good for you), and why. Its a modest attempt at education and it leads to such things as the recent Sight & Sound poll on the 10 best films ever made (and I voted in that election). But this new book reflects a way of thinking that says it doesnt matter too much which films are good and which are bad. They are all frenzies on the wall. What is most important is the fact of the screen as something that separates us from reality. All along, I think, we have been watching screens, and it is only recently, with the profusion of electronic screens, some so small that people aged over 25 cant quite see them, that this has been appreciated. Once youve identified the primacy of the screen you begin to see that all films are more alike than they are different. They resemble guns and nuclear weapons. In America, where there are so many guns, the defenders of the right to own them say: dont blame the guns, just blame the maddies and the baddies who get hold of them. But maybe the gun pushed too many people into those categories by its very existence. It alters our relationship with reality and diminishes our need for reason and language. Can it be an accident that guns are one of the chief props in the screens frenzy? As for the nuclear weapons, the only country in the world that has ever dropped such bombs rages against the threat of Iran obtaining them because there are fanatics in Iran, and people whose insecurities may make them recklessly trigger-happy. Once you grasp the numbing power of screens at that level, its clearer I think that the claims for film as an art or a business are close to fallacies. Now, I am too old to stop making those claims, or to give up the belief that A is better than B. (I think Rear Window is better than the new champion, Vertigo, but I didnt put either of them in my top 10.) Such ranking systems have furnished jobs for everyone from Andrew Sarris to Gilbert Adair (to name two movie writers lost in the past year). It has built an informed audience yourselves that may even purchase The Big Screen to keep me alive a little longer. But I fear film studies, film in academia and good criticism of the medium are all McGuffins compared with the dislocating stealth of the screen. People in the street nowadays bump into one another because they are intent on screens, which means they hardly notice the architecture, the acts of mayhem and indifference going on around them, or the weather. The medium that was alleged to bring all realities to our laps may have reduced us to laptops. Of course, I ignore my own regret in The Big Screen. I go on at some length about great films from an age in which people believed there could be great films lets say 1915 to 1975. And since then? Well, I think, now, anything goes if it serves the screen and keeps us in alleged entertainment and information, as our true state moves ever further from being entertaining. Should screens be banned then? Nice try. Technology never goes back in the bottle not screens or guns, not bombs or digitisation. As politics gives up, so we wait for some Google or other to reinstate fascism and explain our helplessness. The Big Screen: The Story of the Movies and What They Did to Us by David Thomson is published on 11 October by Allen Lane

Responder andrea dice: 13/12/2012 a las 6:38 pm Muy buen tema pero cuidado con la ortografa y la redaccin Responder

Escribir un comentario
Nombre * Correo electrnico * Web

Comentario

Escribe las dos palabras:

Publicar comentario

Si deseas compartir un link, actalo entre estos tags <l>link</l> Buscar Buscar

Notas Relacionadas

Tenemos que hablar de Kevin: el (des)amor de la madre en la mente de un psicpata

VERAAA

Neurocinema: el cine comercial orquestar tu cerebro...

VERAAA

Es el sexo el verdadero motor evolutivo de nuestra inteligencia?

VERAAA Top del mes Top de la semana 1 21 de diciembre 2012: feliz fin del 'fin del mundo' 2 21 de diciembre de 2012: el origen de un meme y la evolucin de una ilusin colectiva 3 21/12/2012: el da que tiende al infinito 4 Entr en contacto Aleister Crowley con extraterrestres? 5 Revolucin Sintrgica: El Guerrero Espiritual

6 Sobre la naturaleza aleatoria de la realidad 1 Recordando vidas pasadas (una breve historia de la creencia en la transmigracin de 2 Sobre el sacrificio: la creacin a travs del suicidio divino (Primera Parte) 3 Es el sexo el verdadero motor evolutivo de nuestra inteligencia?

mn Sexo en el embarazo: las mejores posiciones sexuales Dilema: dejar llorar al beb por las noches o levantarse para consolarlo? mn El famoso artista Olafur Eliasson disea una lmpara LED recargable con energa solar Top: 9 robots inspirados en insectos y aves (VIDEO) mn Your text here, una intervencin interactiva para desplegar un mensaje en un edificio Conoce el fragmentado arte del mexicano Smithe (VIDEO)

Videos

Mientras ladrn robaba una farmacia, otro le rob su auto y uno ms el botn obtenido (VIDEO)

Twitter
SGUENOS Pijama Surf Contacto Publicidad Manifiesto Servicios Newsletter Foros Facebook Youtube Twitter RSS Derechos reservados Sitio compartido y protegido por Creative Commons. Pijamasurf es un proyecto de editorial digital River On Mirror / Laboratorio de Conciencia Digital. Powered by Wordpress. Copyright 2011 - Pijamasurf - All rights reserved Sitio afilidado a Break Media.