Mobile Art: Reflections on Making Art on Mobile Devices

Drawing on paper has a tactile feel to it. Drawing on a mobile device like a large smartphone or tablet is tactile as well but in a completely different way for me. 

When I draw on paper I have a feeling of connection to the objective physical world and a sense of being able to alter or augment it on an abstract or existential level by channeling an inner creative force through my physical form and onto another physical form...

When I draw on a mobile device I also have the sense that I am drawing onto a physical form but instead of feeling as though I am altering or augmenting the physical world, I have the sense that my work is heading into the ether or being transmitted onto some other plane of existence, as though the device is like an etch-a-sketch-like window to another dimension. The ability to share my images instantly to various social networks adds to this sensation of creating in a realm beyond form. 

Edgar Morin on the Cinema's Effects on the Individual and Collective

The complex connection and communication between creator, cinematic work, viewer, and world is deeply explored by Edgar Morin, whose complexity approach to the cinematic medium holds the potential for offering us a way to more fully analyze and understand this complex interconnectedness.

"By means of the cinema, in their own likeness, our dreams are projected and objectified. They are industrially fabricated, collectively shared. They come back upon our waking life to mold it, to teach us how to live or not to live. We reabsorb them, socialized, useful, or else they lose themselves in us, we lose ourselves in them. There they are stored ectoplasms, astral bodies that feed off our persons and feed us, archives of soul." - Edgar Morin (in The Cinema, or the Imaginary in Man)

Evolutionary Guidance

In evolutionary or integral psychology and spirituality, the evolution of consciousness is a key element. Taping into and consciously working with the evolutionary process is also a key element, and an essential way of tapping into the evolutionary process is by attempting to connect with the guiding force of evolution itself.

Ken Wilber and Andrew Cohen call this force the “evolutionary impulse:”

“The evolutionary impulse is the consciously experienced choice-in-action to take form and become the whole universe. It is the energy and intelligence that burst out of nothing, the driving impetus behind the evolutionary process, from the big bang to the emerging edge of the future. And that impulse is active right now, throughout the life process, and at every level of your own human experience. In fact, that life-pulsation is the most important part of who and what we are. When you locate that impulse in the depths of your own self, you will become aware that it is inherently free and explosive in its freedom. It is dynamic and completely unrestrained in its nature. While Being feels like eternal peace, Becoming feels completely different. The evolutionary impulse is felt as a sense of tremendous urgency, an ecstatic urgency. At the level of consciousness, it is experienced as a sense that something unthinkably important must occur NOW” (Andrew Cohen, Evolutionary Enlightenment).

Jean Gebser called this guiding force the “inner commission” and saw it as pointed to a greater force or intelligence at work within our lives:

“How do we live? Whichever way we may live, we need to remember that we are also lived by an authority or a power for which there are many names. And, above all, we must remember one thing, namely that whichever way we live, we follow, whether we know it or not, an inner commission that points beyond ourselves” (Jean Gebser, The Ever-Present Origin).

When we explore the teachings of the various spiritual traditions and the personal anecdotes of those who have attempted to seek, receive and follow guidance from a perceived Divine Source, we discover that at the heart of the guidance experience is that the guidance always appears to be guiding us toward a higher stage of evolutionary development. Each tradition has their practices for seeking, for receiving, and for following, from purification practices that attempt to help us remove the obstacles in our personality and consciousness that keep us from accessing and receiving the guidance of the “evolutionary impulse” to mindfulness/awareness practices to help us be fully open and present to receive to discernment practices to help us understand, clarify, validate, and act on the guidance received. This evolutionary guidance appears to be communicated through many different forms, including 1st Person inner promptings, like hearing an inner voice or getting a “gut feeling;” 2nd Person messages from a higher “Thou” or outer “others,” like receiving a message through the presence of a Divine other or having something that someone else says resonate into a deeper and higher meaning; and 3rd Person lessons from external events and circumstances.

One of the simplest and most universal ways of connecting with Divine or evolutionary guidance is attempting to be in the present moment and holding all that is happening as the guidance you need in that moment…

“Life will give you whatever experience is most helpful for the evolution of your consciousness. How do you know this is the experience you need? Because this is the experience you are having at this moment” (Eckhart Tolle, A New Earth). 

VOICE IN EXILE Classic Film on Stuttering now available on DVD, VOD and Digital Download at Amazon

VOICE IN EXILE – The Powerful Award-Winning Classic Narrative Film Capturing the Experience of Stuttering – Is now available on DVD, Video On Demand, and Digital Download from Amazon.com at: http://www.amazon.com/Voice-Exile-Ben-Bottoms/dp/B00BJC8J9C/ 

“VOICE IN EXILE is the first film on stuttering that tells the story from the inside with all the intensity and power of a real life experience...this is one hell of a film!” – John Harrison, The National Stuttering Association 

“VOICE IN EXILE is among the most notable socio-dramas on the subject of people with physical challenges.” - Geoff Alexander, Academic Film Archive of North America

 “VOICE IN EXILE is a remarkable little film!” – Mitchell Fink, Los Angeles Herald Examiner 

About the Film: 

VOICE IN EXILE is an internationally acclaimed award-winning dramatic and archetypal film journey into the mind and emotions of Alan Woodward, a seventeen-year old stutterer, exploring the inner and outer trials, tribulations and fears that stutterer’s often endure. Because of Alan's stuttering, communicating the simplest idea is often impossible. Everywhere Alan goes he faces impatient people who do not understand his severe speech problem. At school, Alan faces snickers and stares that wound him. At night, the horrors of Alan's days invade his dreams, leaving him no peace in sleep. At home, Alan faces loving parents who share his frustration; yet, they are confused and often misguided in their efforts to help him overcome his stuttering. It is Alan's grandfather, a recently retired college professor, who seems to be the only one able to communicate with and help Alan embark on a journey of transformation that ultimately leads to the release of his imprisoned inner voice.

 The writer/director of this powerful cinematic work, Mark Allan Kaplan, is himself a stutterer and this film is the culmination of Mark's deep personal quest to express the inner life of the stutterer through film. This quest for expression began with the writing of the script, during which Mark delved deeply into his own experiences and emotions as a stutter and tried to translate them into a dramatic story. The script was further developed with the additional input from interviews with other stutterers, while Mark worked with his committed cinematography, sound, and production design teams to translate the experiential reality of the stutterer into a visceral audiovisual language. Then Mark worked with the actor playing Alan, Ben Bottoms, on both the physical aspects of stuttering and the emotional underpinnings.

 As a result of this passionate personal and collective effort, VOICE IN EXILE is a remarkably gripping film that touches viewers on many levels. On one level, it is about a young man's quest to conquer his stuttering. On another level, it is about the inner struggle of all those faced with physical and psychological challenges. On a broader and deeper level, the film speaks to all of us as it addresses a universal theme - the struggle to overcome one's legitimate and unfounded fears...fears that inhibit us, often with disastrous results. A Film By Mark Allan Kaplan Starring Ben Bottoms, Jesse Ehrlich, Richard Sarradet, and Sarah Simmons Produced at the American Film Institute Center for Advanced Film Studies

 For more on VOICE IN EXILE visit www.voiceinexile.com

"A Mystical Passover: A Transformational Passover Haggadah" Now on Amazon

"A Mystical Passover: A Transformational Passover Haggadah" Now available for purchase on Amazon.com at: http://www.amazon.com/Mystical-Passover-Transformational-Haggadah/dp/148198893X/

A MYSTICAL PASSOVER: A TRANSFORMATIONAL PASSOVER HAGGADAH offers a powerful trans-denominational psycho-spiritual approach to the Passover experience that includes individual and group psycho-spiritual exercises to help transform the holiday into a deeply mystical and magical experience for young and old alike.

New Edition of "A Mystical Passover: A Transformational Passover Haggadah" Now Available

A brand new 3rd Edition of my integrally-informed trans-denominational Passover Haggadah is now available in paperback for purchase online at: https://www.createspace.com/4128956.

A MYSTICAL PASSOVER: A TRANSFORMATIONAL PASSOVER HAGGADAH offers a powerful trans-denominational psycho-spiritual approach to the Passover experience that includes individual and group psycho-spiritual exercises to help transform the holiday into a deeply mystical and magical experience for young and old alike.

From the Introduction:

This Passover (Pesach) Haggadah represents a process of spiritual exegesis that I have employed as a vehicle for deepening and healing my relationship with Judaism, my religion of origin. This process consisted of a radical interpretation of the Passover rituals and prayers into a language and process that resonated with my own heart while also attempting to honor the heart of Judaism itself. Through this technique I have endeavored to heal old wounds and purge myself of the obstacles between the Divine and myself.

There are three basic levels of text interpretation in the Jewish tradition: Literal-Biblical, Theoretical-Talmudic, and Mystical-Kabbalistic (Fishbane, 1998; Kenton, 1980). Literal-Biblical text interpretation includes the historical, biblical and narrative levels of the material. Theoretical-Talmudic text interpretation consists of the extrapolation of the philosophical, ethical, moral and religious doctrines, laws and teachings that are woven into the fabric of the written material. Mystical-Kabbalistic text interpretation seeks to unearth the hidden and concealed metaphysical teachings buried in the text.

On the literal level of interpretation, Passover is a ritualistic retelling of the story of a historical biblical event, the Israelites’ exodus from bondage in Egypt. On the theoretical level, the story and rituals of Passover have many philosophical, ethical, moral and religious lessons to teach us about human behavior and the human endeavor to live according to the teachings of the religion of Judaism. Traditionally, the rituals of Passover, including the Passover Seder, tend to focus on these two levels of interpretation and understanding. In the Jewish mystical tradition, Passover can also be seen as a powerful vehicle for personal and communal psycho-spiritual development. From the Mystical-Kabbalistic perspective, the Passover story of a people being freed from the bondage of slavery is transformed into a road map for how an individual can be freed from the bondage of limited consciousness (Kenton, 1980); the land of Egypt becomes the realm of narrowness of body and mind, and Moses becomes the Higher Self being called upon by the Divine to free all the different voices of the psyche (the children of Israel, THE AWAKENING SELF) from the bondage of the ego (Pharaoh).

This mystical level of interpretation became my pathway through the metaphysical gates of these ancient and sacred rites of inner and outer freedom, and my attempt to integrate all three of these levels of interpretation, along with the interpretative constructs of the various denominations of the Judaic tradition, has lead me to the discovery of this powerful transformative psycho-spiritual Passover experience.

About the Author:

MARK ALLAN KAPLAN, PHD is a psycho-spiritual researcher, counselor, educator, and author focusing on integral, transpersonal, and transformative approaches to spiritual life and practice. His writings include "Prayers for the Awakening Self" and "The Experience of Divine Guidance," and he is the founder of the Integral Judaism Project, a trans-denominational research initiative exploring integral and transformative approaches to Judaic theory and practice.

Integral Cinema Studio Translated into Russian Online

Aypraktik, a Russian integrally-informed initiative, has begun to translate and post online Russian translations of the Integral Cinema Studio article series, originally published by Integral Life.

The first translated article can be found at: http://ipraktik.ru/inform/approach/integral-cinema.html.

Translations by Polina Dushatskaya with editing by Eugene Pustoshkin and technical support by Dmitry Baranov.

Original English articles available at Integral Life.

"Voice in Exile" DVD Release - Now Available at Amazon.com

The DVD of "Voice in Exile," my dramatic AFI film about a young stutterer, is now available for purchase from Amazon at: http://www.amazon.com/Voice-Exile-Ben-Bottoms/dp/B00BJC8J9C/

About the Film and the Process of Creating it...

Voice in Exile is a dramatic transformative film journey into the mind and emotions of Alan Woodward, a seventeen year old stutterer. Seeing the world, both imagined and real, through Alan's eyes, we share the nightmare that haunts him and his family as he struggles to not let his stuttering stop him from living.

My goal as a filmmaker was to capture the inner and outer world of the stutterer through dramatic, symbolic, archetypal, and audiovisual expression. This was a deeply personal journey for me since I have been a stutterer for most of my life.

The process began with the writing of the script. During the scriptwriting phase I delved into my own experiences and emotions as a stutter and tried to translate them into a dramatic story. I also interviewed other stutterers for additional research. The script was further developed while I worked with my cinematographer and production designer to translate the experiential reality of the stutterer into a visceral audiovisual language.

An audiovisual score was created for the film to explore the use of the expressive elements of space, shape, line, light, color, tone, rhythm, movement, orientation, time, contrast/affinity, sign, symbol and archetype in the capturing of the emotional and perceptual states of an individual who stutters. This score was developed from the my own personal story and experiences, along with the stories and experiences of other stutterer's. The screenplay and storyboards were created concurrently with the visual score, enabling the integration of the visual design throughout the piece. The visual score included divisions for subjective and objective perceptions of waking reality (SPR/OPR); subjective dream states (SDS); and subjective developmental transitions (SDT).

Throughout this process and the rest of preproduction, production, and postproduction, a profound inner battle waged within me. Part of me desired to share these inner experiences with others, while another part of me was terrified of revealing this deeply personal emotional reality.

This personally transformative filmmaking experience also appeared to have a transformative effect on viewers of the film as well. A majority of stutterer's reported feeling as though the film captured their inner lives. This produced emotional release, a reduction in feelings of isolation, and an increase in self-esteem in numerous cases. There was one reported case of the film averting an individual’s attempt at suicide. Families of stutterer's who viewed the material reported an increase in understanding and empathy for the family member who stuttered. Non-stutterer's reported an increase in understanding about stuttering and empathy for people who stutter.

"Voice in Exile" also won numerous awards including the Golden Gate Award at the San Francisco International Film Festival and the Silver Medal at the Chicago International Film Festival, and was aired on Cinemax/HBO and A&E Cable Networks.


More Information About "Voice in Exile" is available at voiceinexile.com.

What is Integral Cinema (Part 1)

In my research into the application of Integral Theory for cinematic media theory and practice, I am continually asking and being asked the question "What is Integral Cinema?" We can start to answer this question by going back to the person who first used this term, French avant-garde filmmaker Germaine Dulac, in the 1920s and 30s. Dulac was a pioneer in both experimental and feminist cinema and used the term "Integral Cinema" to describe her emerging experimental approach. Integral Cinema as defined by Dulac are cinematic works that use the inherent language of the cinema to capture and express the interior and exterior life of both the individual and the collective. Or put another way, a moving image work that uses the cinema's unique textual, auditory, visual, and temporal (accumulated meaning patterns over the duration of the work) expressive elements to explore and integrate the internal life and external world of the individual and collective.

A recent example of this type of work is The Matrix Trilogy (1999-2003), with the matrix representing the interior life of the individual and collective, and the outside, waking human and machine worlds as the external world of the individual and the collective. You can also see Germaine Dulac's classic Integral cinematic work The Seashell and the Clergyman (1928) in its entirely for free online at: http://www.ubu.com/film/dulac_coquille.html (the above image is from this film).

With further inquiry I discovered that this definition just scratches the surface of answering the question, What is Integral Cinema?...and in upcoming posts I will flesh flesh out the more complete answer to this question...

Integral Cinema Studio Dialogue with Ken Wilber (Part 3 & 4)

Announcing the Online Publication of Part 3 and 4 of 

INTEGRAL CINEMA STUDIO: 

A COMPREHENSIVE GUIDE TO THE CINEMA EXPERIENCE 

An Audio Dialogue Between Ken Wilber and Mark Allan Kaplan 

Exploring the Application of Integral Theory to 

Cinematic Media Theory and Practice.

For over a year now, Integral Cinema Project Lead Researcher Mark Allan Kaplan has been producing a groundbreaking monthly article series at Integral Life: the much-acclaimed Integral Cinema Studio. In this remarkable exploration, Mark walks us through all of the main elements of Integral theory—using some of our favorite movies to illustrate the basics of the Integral approach, while noting how each of these elements has shaped the cinema experience since the invention of film itself. Not only does this series offer a wealth of perspective and insight to film, filmmakers, and audiences alike, but it also brings more color, more sound, and more awesome explosions to Integral thought and practice! Listen as Mark and Ken Wilber take an in-depth look at one of Integral Life's longest-running series, Integral Cinema Studio.

This dialogue serves as a wonderful introduction to the major elements of integral theory. For those already familiar with the Integral model, this is a nice opportunity to both revisit your understanding of integral theory and to see how it can be applied to just about any interest, activity, or pursuit that you may have.

Either way, Integral Cinema Studio is a terrific way to deepen and enrich your own experience of film, simply by recognizing some of the deeper patterns and perspectives running through your favorite movies that you may not have recognized before. All of the elements of the Integral model are present in our awareness right now; Integral theory simply points to all the various aspects and dimensions that shape our experience of this present moment. It's therefore no surprise that we can see all of these elements reflected in various characters, conflicts, and stories throughout the history of film. Of course, whether the film-makers themselves actually intended this, or just intuited it, is another question—and to some degree inconsequential to the beauty and profundity we experience when these ideas and perspectives come to life on the big screen.

What's more, this discussion and blog series promises to inspire a whole new generation of writers and filmmakers. It's not just how you express these perspectives, ideas, and insights—Integral Art does not require you to represent all quadrants, all levels, all lines, all states, etc. in your work (though all of these elements are implicitly present in every piece of art). Rather, it's about whether you are able to account for all of these in your own awareness, thereby allowing you to draw from a far richer, more colorful, and more comprehensive pallet of human experience.

So grab a snack from the concession stand, turn off your phone, and enjoy this groundbreaking discussion between Mark Allan Kaplan and Ken Wilber!

Introduction Written by Corey W. deVos

Available at: http://integrallife.com/ken-wilber-dialogues/integral-cinema-studio-comprehensive-guide-cinema-experience

Integral Cinema Set and Setting Viewing Practice

During my research into the application of Integral Theory for cinematic media theory and practice I have been developing and experimenting with potential integrally-informed viewing practices. One practice that appears to be significantly effective for establishing an integrally-informed viewing set and setting is to do a quick check-in of dimension-perspectives while sitting in the theater, or any in any viewing space, waiting for the cinematic work to start…

Integral Cinema Set and Setting Viewing Practice:

• With eyes open or closed and sitting in a comfortable position,  bring your awareness to your I-space or your inner-beingness or self-ness, feeling what it feels like to be an "I"; 
• Then try to sense the WE-space between yourself and the other audience members (or if alone, you can imagine others who have or who are currently viewing the same cinematic work); 
• Then bring your awareness to the IT-space or the physical reality around you, the chair or other surface you are sitting in, the floor beneath your feet, the screen in front of you, etc.; 
• Then try to sense the ITS-space or the environment around you, the atmosphere of the theater or room as a whole, the air in the space, the auditory resonance of the space, etc. 
• Next, bring your awareness to your physical body; 
• Then try to sense your energy body, the subtle energetic field within and around you; 
• Then bring your awareness to your emotional body, the subtle emotional field radiating within you; 
• Then your mental body, the causal field that contains your thoughts and mental images; 
• Then your witness body, imagining the ability to witness yourself from the outside of your physical, energetic, emotional and mental beingness; 
• Finally try to get a sense of non-dual beingness, that part of you that is part of all that is. 

With practice this process can be performed within a couple of minutes and has the potential to help you enter an inner-viewing-space that is open, lucid and aware of multiple domains.

*This practice is adapted from Integral Life Practice.

Integral Cinema Studio Dialogue with Ken Wilber (Part 2)

Announcing the Online Publication of Part Two of 

INTEGRAL CINEMA STUDIO: 

A COMPREHENSIVE GUIDE TO THE CINEMA EXPERIENCE 

An Audio Dialogue Between Ken Wilber and Mark Allan Kaplan 

Exploring the Application of Integral Theory to 

Cinematic Media Theory and Practice.

For over a year now, Integral Cinema Project Lead Researcher Mark Allan Kaplan has been producing a groundbreaking monthly article series at Integral Life: the much-acclaimed Integral Cinema Studio. In this remarkable exploration, Mark walks us through all of the main elements of Integral theory—using some of our favorite movies to illustrate the basics of the Integral approach, while noting how each of these elements has shaped the cinema experience since the invention of film itself. Not only does this series offer a wealth of perspective and insight to film, filmmakers, and audiences alike, but it also brings more color, more sound, and more awesome explosions to Integral thought and practice! Listen as Mark and Ken Wilber take an in-depth look at one of Integral Life's longest-running series, Integral Cinema Studio.

This dialogue serves as a wonderful introduction to the major elements of integral theory. For those already familiar with the Integral model, this is a nice opportunity to both revisit your understanding of integral theory and to see how it can be applied to just about any interest, activity, or pursuit that you may have.

Either way, Integral Cinema Studio is a terrific way to deepen and enrich your own experience of film, simply by recognizing some of the deeper patterns and perspectives running through your favorite movies that you may not have recognized before. All of the elements of the Integral model are present in our awareness right now; Integral theory simply points to all the various aspects and dimensions that shape our experience of this present moment. It's therefore no surprise that we can see all of these elements reflected in various characters, conflicts, and stories throughout the history of film. Of course, whether the film-makers themselves actually intended this, or just intuited it, is another question—and to some degree inconsequential to the beauty and profundity we experience when these ideas and perspectives come to life on the big screen.

What's more, this discussion and blog series promises to inspire a whole new generation of writers and filmmakers. It's not just how you express these perspectives, ideas, and insights—Integral Art does not require you to represent all quadrants, all levels, all lines, all states, etc. in your work (though all of these elements are implicitly present in every piece of art). Rather, it's about whether you are able to account for all of these in your own awareness, thereby allowing you to draw from a far richer, more colorful, and more comprehensive pallet of human experience.

So grab a snack from the concession stand, turn off your phone, and enjoy this groundbreaking discussion between Mark Allan Kaplan and Ken Wilber!

Introduction Written by Corey W. deVos

Available at: http://integrallife.com/ken-wilber-dialogues/integral-cinema-studio-comprehensive-guide-cinema-experience

Ken Wilber on the Comprehensive Nature of Cinema

The integration of an Integral or aperspectival vision, or the perceptual lenses of quadrants, levels, lines, states, and types in Ken Wilber's AQAL model, into a creative work is what Wilber refers  to as comprehensive art, and he differentiates this form of Integral Art from integrally-informed art, which is “any art produced by integral consciousness” (Wilber, 2003). Usually, comprehensive art refers to art that has been consciously created to reflect an integral perspective, but Wilber notes that the art of the cinema is more inherently comprehensive than other artistic mediums because it employs the multiple forms of expression of text, image, and sound (Wilber, 2003).

Google Glass and the Advancement of the Subjective Lens

The recent video (above) created by the partnership between Fashion designer Diane von Furstenburg and Google using Google's new Google Glass augmented reality glasses, suggests that this emerging convergence technology has the potential to transform how movies are made. This transformation appears to not just be about the extreme portability and non-intrusive nature of the technology, which are in themselves great advances, but this new wearable camera may very well bring us into the realm of experiencing a much more powerful subjective lens experience...bringing the subjective eye-line closer into alignment. Time will tell...but this tech looks to be full of potential in both the personal and professional movie-making and viewing space.

In addition to the potential shift in the movie making and viewing experience, there is the added dimension here of how having technology closer to our being, both physically and perceptually will effect our consciousness. The convergence of human and technology spaces has been and continues to be a topic of both inspiration and trepidation...are we evolving into a new form...the transhuman....and heading toward a new age marked by a profound techno-human shift that Ray Kurzweil calls the Singularity...or are we creating further distance and disassociation between our selves, each other and the world...for me, I see this movement as an advance like all other advances, filled with both potential blessings and challenges...for now...this looks like fun...

Integral Cinema Project Receives Donation of Write Brothers Software

The Integral Cinema Project has received the generous donation of Movie Magic Screenwriter, Dramatica Pro, and Outline 4D cinematic story creation software programs from Write Brothers, Inc.

Movie Magic Screenwriter is one of the film industry’s most highly regarded screenwriting software programs, Dramatica Pro is an award-winning story creation program, and Outline 4D is a story outlining and timeline building program.

The Integral Cinema Project is using these three software programs to help study the development process of the textual dimension of cinematic creation.

Our initial testing of these programs suggests that they can be used a valuable tools in the creation of integrally-informed cinematic works by offering the integrally-informed cinematic creator and creative team a wide range of story creation methodologies and dimension-perspectives.

Dramatica Pro offers a powerful story creation methodology based on a unique and integrally-informed story development theory and approach, which uses a four-quadrant approach to story structure. Like Ken Wilber’s Integral Theory, Dramatica’s quadratic approach is based on an expansion of the big three domains of 1st, 2nd, and 3rd person dimension-perspectives. While Wilber’s model adds the 3rd person plural as the fourth quadrant, Dramatica uses the addition of the 1st person plural dimension-perspective.

Outline 4D extends this integrally-informed story creation process by adding the ability to view the created story from in-depth and overview vertical-outline and horizontal-timeline perspectives, offering the capacity to move through the individual and collective dimensions of a story with varying depth and span.

Movie Magic Screenwriter integrates these developed multi-dimensional story elements and assists in the further development of the created story into a screenplay (teleplay, etc.) format, while also offering tools to help take the elements of the screenplay into the next pre-production and production phases of script breakdown, storyboarding, scheduling and budgeting.

We are deeply grateful for the contribution of these software programs, and for the support and inspiration of the creators of Write Brothers software.

Integral Cinema Studio Dialogue with Ken Wilber (Part 1)

Announcing the Online Publication of Part One of 

INTEGRAL CINEMA STUDIO: 

A COMPREHENSIVE GUIDE TO THE CINEMA EXPERIENCE 

An Audio Dialogue Between Ken Wilber and Mark Allan Kaplan 

Exploring the Application of Integral Theory to 

Cinematic Media Theory and Practice.

For over a year now, Integral Cinema Project Lead Researcher Mark Allan Kaplan has been producing a groundbreaking monthly article series at Integral Life: the much-acclaimed Integral Cinema Studio. In this remarkable exploration, Mark walks us through all of the main elements of Integral theory—using some of our favorite movies to illustrate the basics of the Integral approach, while noting how each of these elements has shaped the cinema experience since the invention of film itself. Not only does this series offer a wealth of perspective and insight to film, filmmakers, and audiences alike, but it also brings more color, more sound, and more awesome explosions to Integral thought and practice! Listen as Mark and Ken Wilber take an in-depth look at one of Integral Life's longest-running series, Integral Cinema Studio.

This dialogue serves as a wonderful introduction to the major elements of integral theory. For those already familiar with the Integral model, this is a nice opportunity to both revisit your understanding of integral theory and to see how it can be applied to just about any interest, activity, or pursuit that you may have.

Either way, Integral Cinema Studio is a terrific way to deepen and enrich your own experience of film, simply by recognizing some of the deeper patterns and perspectives running through your favorite movies that you may not have recognized before. All of the elements of the Integral model are present in our awareness right now; Integral theory simply points to all the various aspects and dimensions that shape our experience of this present moment. It's therefore no surprise that we can see all of these elements reflected in various characters, conflicts, and stories throughout the history of film. Of course, whether the film-makers themselves actually intended this, or just intuited it, is another question—and to some degree inconsequential to the beauty and profundity we experience when these ideas and perspectives come to life on the big screen.

What's more, this discussion and blog series promises to inspire a whole new generation of writers and filmmakers. It's not just how you express these perspectives, ideas, and insights—Integral Art does not require you to represent all quadrants, all levels, all lines, all states, etc. in your work (though all of these elements are implicitly present in every piece of art). Rather, it's about whether you are able to account for all of these in your own awareness, thereby allowing you to draw from a far richer, more colorful, and more comprehensive pallet of human experience.

So grab a snack from the concession stand, turn off your phone, and enjoy this groundbreaking discussion between Mark Allan Kaplan and Ken Wilber!

Introduction Written by Corey W. deVos

Available at: http://integrallife.com/ken-wilber-dialogues/integral-cinema-studio-comprehensive-guide-cinema-experience

Gebser on the Inclinations of the Integral Artist

In the early part of the 20th century Swiss cultural philosopher Jean Gebser discovered different structures of human consciousness reflected in various cultures and observed a relatively new emerging structure of consciousness that he eventually termed “Integral.” Gebser detected this new form of consciousness or cultural worldview in many of the scientists, writers, and artists of the early 20th century. He discerned that this new worldview consisted of the transcendence of ego-centered perception and thought, and the realization that the three dimensions of space are relative to the fourth dimension of time, thus producing an aperspectival, or multi-perspectival, time-space transcendent form of consciousness (Feuerstein, 1987). This new form of consciousness, expressed through the arts appeared to include structures in which “time is no longer spatialized but integrated and concretized as a fourth dimension” (Gebser, 1985).

For Gebser, this type of visually concretizing time along with the three-dimensions of space is an essential quality for any work of art to be considered integral because “the concretion of everything that has unfolded in time and coalesced in a spatial array is the integral attempt to reconstitute the ‘magnitude’ of man from his constituent aspects, so that he can consciously integrate himself with the whole” (Gebser, 1985). In addition to the concretion of time, Gebser (1985) also considered the concretion of interiority, or individual and collective interior dimensions, to be a precondition of the integral structure because “only the concrete can be integrated, never the merely abstract” (Gebser, 1985).

Films like Groundhog Day (1993) and Source Code (2011) are clear examples of the concretion of time or the concrete narrativization and visualization of temporal patterns in cinematic works; and films like The Matrix (1999) and Inception (2010) powerfully concretize interior dimensions of mind through text, image, and sound as well.

Germaine Dulac on Integral Cinema

The term integral cinema was first used by French avant-garde filmmaker Germaine Dulac in the 1920s. Dulac employed this term to describe cinema that utilized the natural inherent language of the cinema to evoke the interior life normally hidden beneath the exterior life of the objective world (Flitterman-Lewis, 1996). This form of cinema was also called pur cinema or visual music, because of the contention by its adherents that the language of the cinema is a language all its own, more related to music or poetics, than to literature or drama. In order to liberate the cinematic image from literary or dramatic expression, “…Dulac sought to create for the spectator a ‘cinegraphic sensation’ that could be achieved through the contemplation of pure forms in movement—the melodic arrangement of luminous reflections, the rhythmic ordering of successive shots” (Flitterman-Lewis, 1996, pp. 69-70).

While Dulac’s theoretical writings and public discourses on integral cinema mostly focus on this definition, her films reveal two distinct types of cinematic approaches. Whereas some of her films did seek to explore pure visual music approaches of using cinematic imagery, movement, and rhythm to reveal the interior life, films like her 1928 classic, La Coquille et le Clergyman (The Seashell and the Clergyman), reveal the raw beginnings of a more comprehensive or “integral” approach that attempts to use the inherent language of the cinema to capture and express the interior and exterior lives of both the individual and the collective. Dulac hints at this approach when she writes, “It isn’t enough to simply capture reality in order to express it in its totality; something else is necessary in order to respect it entirely, to surround it in its atmosphere, and to make its moral meaning perceptible…” (Dulac, as cited in Flitterman-Lewis, 1996, p. 49). This more comprehensive approach hauntingly captures some of the constructs of Jean Gebser’s integral worldview (1985) and Ken Wilber’s Integral Theory (1995) while predating both by 21 and 67 years, respectively.

For more on this see my article Toward an Integral Cinema, available for download at: http://integrallife.com/integral-post/toward-integral-cinema