Pramod Pati, who died an untimely death at the age of 42, worked for the Films Division of the Ministry of Information and Broadcasting in India, which commissioned feature-length and short documentaries as well as short animation films for the purposes of cultural archiving and nationwide information dissemination. The documentaries generally consisted of profiles of artistes practicing traditional forms, educational films for adults, and simple moral tales and basic literacy courses for children. Although there was an obvious restriction on the type of subjects filmmakers can choose, the Films Division, like the Kanun in Iran, was free from commercial concerns and thus presented a higher scope for formal experimentation for directors.
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Don Cherry, trumpet, illustrating an Andre Breton poem in various Paris locations. Breton poem read by Anthony Braxton.
Produced and distributed by a free-market group based in San Diego called World Research, Inc., the 40-minute film is set in the year 2003 and gives viewers a look at two vastly different worlds. On Earth, a world government has formed and everything is micromanaged to death, killing private enterprise. But in space, there’s true hope for freedom. Viewers get an interesting peek into what daily life is like when a Libra resident shows off her Abacus computer, which is a bit like Siri. The film’s vision for 2003 isn’t very pleasant — at least for those left on Earth. The people of Libra seem happy, while those on Earth cope with the world government’s dystopian top-down management of resources.
We are facing a flood of powerful new technologies that expand the potential for centralized monitoring, an executive branch aggressively seeking new powers to spy on citizens, a docile Congress and courts, as well as a cadre of mega-corporations that are willing to become extensions of the surveillance state. We confront the possibility of a dark future where our every move, our every transaction, our every communication is recorded, compiled, and stored away, ready for access by the authorities whenever they want.
I had a dream that I inhabited a construction supply warehouse and was picking up materials for my new cosmology. I picked up understanding, gnosis and some new pipes for a free flowing system connected to the logos. I awoke from the metaphor to realize that this dream told me that my worldview, and even who I AM, creates the landscape of my reality. “Blame it on last night’s whiskey,” I said and returned to sleep, but the same idea came again in another way: This time, I was in an art studio that my present self does not yet own. Here I made with paint and canvas my own cosmos. Where previously it was a construct, now it was a work of art.
In Alan Moore’s first film, Jimmy’s End, Jimmy visits an unexpected place in which the big show of creation happens, performed by the great “I AM”.… Read the rest
Police Mortality is Anti-Banality’s latest wish-fulfillment symptomology of, as one character hallucinates it, “a precisely formulated national conspiracy of police genocide.” It is a paranoid-schizophrenic blitz against police subjectivity, skimmed off nearly 200 movies by that other social superego–Hollywood. In this opening scene, the immaculate suicide of one LAPD officer begins to reveal the contradictions of police existence to a force which, finding itself multiply irreconcilable with itself, resorts to terminal civil war, eradicating the prevailing organization of life in the process.