"On the other hand, the social environment has, likewise, become a simultaneous mosaic of electric information. That is to say, both the small and the large aspects of the contemporary world have none of the continuous, connected qualities that go with alphabetic writing, and none of the qualities that go with visual or "rational" space. To say, therefore, that "literary culture is through" is not an opinion but an observation of a dominant and constitutive situation. Discontinuous matter arrived in 1900 with quantum mechanics (Max Planck). Multi-locational art (later called Cubism) arrived at the same time. In 1900 Freud's Interpretation of Dreams appeared, by-passing the continuous and rational world of consciousness and restoring the mythic and discontinuous world of the dream. Serious artists in all fields began to alert consciousness to the new situation. Arthur Miller's essay "1949: The Year It Came Apart" details a more immediate sense of the situation that came about with the TV public. Up until the eve of TV there had been a kind of homogeneous audience from New York to San Francisco:
... In many ways it was a good audience, but the important point to remember is that it was the only one, and therefore catholic. Traditionally it could applaud the Ziegfeld Follies one night and O'Neill the next, and if it never made great hits of Odets' plays, it affected to regard him as the white-haired boy. Both O'Neill and Odets would privately decry the audience as Philistine and pampered, but it was the audience they set about to 'save from its triviality,', for they could not really conceive there could be another.
The simultaneous audience has nothing in common with the sequential one stretched from New York to San Francisco, just as the Johnny who sits in the classroom of 1975 has nothing in common with the Johnny who sat there in 1955. The new Johnny has very lite private identity and no tunnel vision of any conceivable goals in life. This, again, is not a value judgment, but simply a structural observation, since there cannot be deferred goals in a simultaneous void, immediate quality of life and complex role-playing takes over from the visual point of view and the pursuit of goals. Mildred Hall and Edward T. Hall make an observation about a flaw in Western Consciousness that dearly concerns the future of America.
Their point needs to be focused directly upon the future of literacy in the US: The most pervasive and imporant assumption, a cornerstone in the edifice of Western thought, is one that lies hidden from our consciousness and has to do with man's relationship to his environment.
Every film school student knows not to break the 180 rule. Is the art better if you break the rules deliberately, or if you break them because you never knew they existed?
Just know that I care about you all in these fires. I grew up there and pray for all of my friends and family and you all. Prayers up!
I'm curious how emotional cubism would work, how it would look, how it would inform the story, etc.
From Barry Nevitt's The Communication Ecology
"On the other hand, the social environment has, likewise, become a simultaneous mosaic of electric information. That is to say, both the small and the large aspects of the contemporary world have none of the continuous, connected qualities that go with alphabetic writing, and none of the qualities that go with visual or "rational" space. To say, therefore, that "literary culture is through" is not an opinion but an observation of a dominant and constitutive situation. Discontinuous matter arrived in 1900 with quantum mechanics (Max Planck). Multi-locational art (later called Cubism) arrived at the same time. In 1900 Freud's Interpretation of Dreams appeared, by-passing the continuous and rational world of consciousness and restoring the mythic and discontinuous world of the dream. Serious artists in all fields began to alert consciousness to the new situation. Arthur Miller's essay "1949: The Year It Came Apart" details a more immediate sense of the situation that came about with the TV public. Up until the eve of TV there had been a kind of homogeneous audience from New York to San Francisco:
... In many ways it was a good audience, but the important point to remember is that it was the only one, and therefore catholic. Traditionally it could applaud the Ziegfeld Follies one night and O'Neill the next, and if it never made great hits of Odets' plays, it affected to regard him as the white-haired boy. Both O'Neill and Odets would privately decry the audience as Philistine and pampered, but it was the audience they set about to 'save from its triviality,', for they could not really conceive there could be another.
The simultaneous audience has nothing in common with the sequential one stretched from New York to San Francisco, just as the Johnny who sits in the classroom of 1975 has nothing in common with the Johnny who sat there in 1955. The new Johnny has very lite private identity and no tunnel vision of any conceivable goals in life. This, again, is not a value judgment, but simply a structural observation, since there cannot be deferred goals in a simultaneous void, immediate quality of life and complex role-playing takes over from the visual point of view and the pursuit of goals. Mildred Hall and Edward T. Hall make an observation about a flaw in Western Consciousness that dearly concerns the future of America.
Their point needs to be focused directly upon the future of literacy in the US: The most pervasive and imporant assumption, a cornerstone in the edifice of Western thought, is one that lies hidden from our consciousness and has to do with man's relationship to his environment.
Great piece.
Love anticipating and spotting "The New".
Every film school student knows not to break the 180 rule. Is the art better if you break the rules deliberately, or if you break them because you never knew they existed?
This is a Visual Space (literate) or Acoustic Space (pre/post literate) question
So so interesting. Thank you!!