"The Matrix" and the Evolution of Consciousness

Or, taking the Red Pill and waking up to the coming of Winter: Reflections on meta-perspectival storytelling, The Matrix, Game of Thrones and our current global situation

According to my research into the potential co-evolution of the moving image, consciousness, culture and society, The Matrix (1999) helped to introduce a higher form of cinematic consciousness* into mainstream pop culture. The foundation of this higher form of cinematic consciousness could be called meta-perspectival storytelling.

Meta-perspectival storytelling refers to stories that unfold through both major and minor shifts in perspective that often reveal whole new ways of understanding and experiencing the storyworld unfolding before us. Think of the red-blue pill moment in The Matrix, or the self-as-ghost revelation at the end of The Sixth Sense (1999), the shifting realities of a television series like Lost (2004) or the progressive, reality-shaking awakening of characters to the true coming threat of winter in Game of Thrones (2011). All of these works use meta-perspectival storytelling to drive their stories and characters to greater levels of understanding and capacities.

This form of storytelling has been around for a while in various forms but not until the release of both The Matrix and The Sixth Sense in 1999, did this form penetrate the pop culture cinematic language in a big way. Since then, more and more cinematic works have been using this form of storytelling, creating deeper and more expansive works with layers and layers of perceptual realities that hide and reveal themselves over time, guiding us and the characters to greater levels of understanding and revelation. Meta-perspectival storytelling is born out of a specific stage of development and structure of consciousness, often referred to as Integral Consciousness. The key to this structure of consciousness is the drive to understand all dimensions and perspectives of our reality and integrate them into a meaningful whole, a "big picture" meta-perspective.

I find it beautifully symbolic that this month is the 20th anniversary of The Matrix (1999-2019), the film that helped birth this expansion of cinematic consciousness, and the start of the final season of Game of Thrones (2011-2019), the series that helped to evolve this form of storytelling to new levels of richness, depth and complexity for a global scale audience that more easily and deeply understands, embodies and enjoys this form of consciousness and storytelling.

I also find it rather haunting and inspiring to look at how this evolution of storytelling and viewer consciousness coincides with the ever deepening and expanding deconstruction of so many of our individual and collective mental, emotional and perspectival constructs within and around us. This deconstruction has culminated in the whirlwind of reality bubbles, fake news, propaganda networks and "alternate truth" in which we currently find ourselves. I have to wonder if all these meta-perspectival stories feeding our imaginations these last twenty years are an expression of our collective consciousness preparing us to make some big perspectival transition, helping more and more of us to wake up to the coming of our own global climate change and political, cultural and social regression winter, and to individually and collectively search for the red pill that will wake us all up in time.



*NOTE: Cinematic consciousness as I define it comes from my research into the relationship between the moving image, consciousness, culture and society. This research suggests that human beings project their structures of consciousness into their creative works. This in turn appears to create similar composite structures of consciousness embedded in these works. In a sense these embedded consciousness structures create a kind of cinematic consciousness that lives within the constructed cinematic reality of these moving images. And this cinematic consciousness in turn affects viewer consciousness.

Announcing the Conscious Movie-of-the-Month Club

A Monthly Exploration of Consciousness and the Movies

Conscious Good Creators Network presents the Conscious Movie-of-the-onth Club with Integral Cinema Project Founder and Executive Director Mark Allan Kaplan, Ph.D., for anyone who wants to use media to raise individual and collective consciousness.

About the Club 

Join fellow conscious media creators and media enthusiasts each month for an in-depth look at conscious cinema with host and facilitator Mark Allan Kaplan, Ph.D. Together we will explore how consciousness is expressed in and through the movies, and how we can use movies to help us evolve our consciousness.

As a member of the club you will have access to the club’s online forum and the entire Conscious Good Creators Network. At the beginning of each month we will announce the movie of the month for us all to watch on our own and then explore together in the online discussion forum. On the last Thursday of the month we will have a video conference call where Mark will share his reflections on the movie from a conscious, integral and transpersonal perspective. Participants will also have the opportunity to share personal reflections, questions and musings.

As a member of the club you will also be invited to experiment with some of the conscious media viewing practices Mark has developed over the years. These can help you to deepen and expand the viewing experience and help you develop your own transformative media viewing practice if you so desire.

About the Host/Facilitator 

Mark Allan Kaplan, Ph.D. is an award-winning filmmaker, transdisciplinary artist, media psychologist and researcher, and the founder and executive director of the Integral Cinema Project. As an artist and media-maker Mark has been exploring conscious art and media since childhood, attempting to use these creative mediums to help himself transcend his own communication challenges of being a severe childhood stutterer. He uses his conscious art practices to find his "voice" and use that voice to help raise the consciousness of himself, others and the world. He is considered by many to be one of the pioneers in the conscious and transpersonal media movements and is the world's leading researcher and theorist in the application of Integral Theory to the cinematic arts.

For more on Mark visit: www.markallankaplan.com, and to learn about the Integral Cinema Project visit: www.integralcinema.com.

Details

• Dates/Times: 
• Movie of the month announcement, first of the month, starting April 1, 2019 
• Online discussions, ongoing 
• Video conference calls, 7pm PST, last Thursday of the month, starting April 25, 2019 
• Cost: Free (requires free membership to the network) 
• Host: Conscious Good Creators Network 

About Conscious Good Creators Network 

Conscious Good Creators Network is a community-driven media platform for visual storytellers dedicated to raising consciousness. Conscious Good launched the Creators’ Network as a place where conscious creators and audiences can connect. It’s a place to interact with fellow conscious media tribe members, share resources, ideas and support one another.

SIGN UP FOR THE NETWORK AND THE CLUB

Conscious Media-Making 101

In this introductory course for the Conscious Good Creators Network, Integral Cinema Project founder Mark Allan Kaplan, Ph.D. explores what is conscious media and conscious media-making, what are some of the different potential forms of conscious media-making, and how different states and stages of consciousness effect the media-making process. Mark also explores how these structures of consciousness within us are communicated between us, the works we create and the individuals and collectives that experience our works…and how this knowledge can be used to create deeper and more transformative media experiences for creators and viewers on the individual and collective levels. Mark Allan Kaplan, Ph.D. is an award-winning filmmaker, transdisciplinary artist and media psychologist and researcher. As an artist and media-maker Mark has been exploring conscious art and media since childhood, attempting to use these creative mediums to help himself transcend his own communication challenges of being a severe childhood stutterer and find his "voice" and use that voice to help raise the consciousness of himself, others and the world. He is considered by many to be one of the pioneers in the conscious and transpersonal media movements and is the world's leading researcher and theorist in the application of Integral Theory to the cinematic arts. www.markallankaplan.com & www. integralcinema.com Conscious Media Creators Network is a community-driven online media platform for visual storytellers dedicated to raising consciousness. Conscious Good launched the Creators’ Network as a place where conscious creators and audiences can connect. It’s a place to interact with fellow conscious media tribe members, share resources, ideas and support one another. Use the following link to join the network: https://conscious-good.mn.co/share/7i... This talk was presented on Sunday February 24, 2019 between 12pm to 1:30pm PST on the Conscious Good Creators Network as part of their "Stream of Consciousness" speaker series.

The complete course video is available at: https://youtu.be/A5P2DmRk23w

The presentation slides are available at: https://www.slideshare.net/markallankaplan/conscious-mediamaking-101

Conscious Media-Making 101 from Mark Allan Kaplan

"Integral Goes to the Movies" Slideshow

The slide show for the "Integral Goes to the Movies" presentation I gave for Bay Area Integral is now available for viewing and download... Topics include the embedding of structures of consciousness in the moving image; the co-evolution of the moving image, consciousness, culture and society; more fully understanding the power of the medium and how it can be used for transformative and evolutionary purposes; and what is Integral theory and what makes a movie "integral"

 

Integral Goes to the Movies from Mark Allan Kaplan

Art-in-Motion Video Series

The Integral Cinema Project announces the ART-IN-MOTION SERIES, a collection of moving image meditations that attempt to use advanced audiovisual and cinematic entrainment technologies along with animated abstract art to explore the human perceptual field. The intention behind these works is to potentially induce shifts in our awareness of our own perceptual field and bring the normally unconscious perceptual construct-forming system of the human mind to conscious awareness.




APPROACH

ICP cinematic artist and researcher Mark Allan Kaplan attempts to morph one of his artworks into a transformative cinematic meditation using an adapted form of the "Cine-Sculpture" approach developed by ICP research associate James Lusero and combines it with Integral Cinematic Metadesign techniques to synchronize visual, auditory, textual and temporal expressive forms with an underlying transformative perceptual and conceptual field.

ACKNOWLEDGMENTS, ANTECEDENTS AND INSPIRATIONS:

We would like to acknowledge the works of the following individuals and organizations who inspired and laid the foundation for the approaches used in these cinematic works: Integral Cinema and Cinéma Pur pioneer Germaine Dulac; cinematic Montage and Synchronization-of-the-Senses developer Sergei Eisenstein; Filmic Expression pioneers Slavko Vorkapić, Lestor Novros and Bruce Block; Visual Music innovator Jordan Belson; state of consciousness cinematic induction trailblazers Dorothy Fadiman and Ken Jenkins; cinematic creation state explorers James Broughton and David Lynch; audio and visual brainwave entrainment pioneers, innovators and explorers Pierre Janet, Arthur Hastings, Robert Monroe, Dr. Jeffrey Thompson, Kelly Howell, Eric Thompson, iAwake Technologies and Subtle Energy Sciences; the integrally-informed metatheories of Ken Wilber, Jean Gebser, Edgar Morin and Sri Aurobindo; the consciousness hacking innovations of Mikey Siegel and fellow explorers of the Consciousness Hacking movement; and the integrated transdisciplinary “Cine-Sculpture” explorations of Integral Cinema Project research associate and multidisciplinary artist James Lusero.

SPECIAL THANKS

We would like to give special thanks to the folks at iAwake Technologies for their generous donation of the audio entrainment track. To learn more about iAwake Technologies visit them at: http://www.iawaketechnologies.com

You can view the whole series at the Integral Cinema Project's YouTube Channel at: https://www.youtube.com/playlist?list=PLQg0cPXteHDOnD9ehSBTxHXFZ5vL93_pE

Integrally Unpacking Star Wars 1-7 (ICP and TEHNC Podcast)

What are the hidden patterns coursing through the "Star Wars" saga? Is J.J. Abrams' "The Force Awakens" just a PC remake of the original 1977 "Star Wars?" What is the best "Star Wars" film, anyway? 

To answer these questions Integral Cinema Project members Mark Allan Kaplan and Jonathan Steigman watched all 7 Star Wars films in their intended order and the experience surprised them both. From the prequel "poorly executed masterpieces" (1-3), to the seminal original Star Wars trilogy (4-6) and the recently-released first episode of the third trilogy, the Star Wars saga has shaped our culture and consciousness for nearly 40 years. Exploring the series through the lenses of Ring Theory and Integral Cinematic Analysis, Jonathan and Mark unpack new insights into George Lucas' monumental achievement.

Watch this joint ICP and TEHNC Podcast, Unpacking Star Wars 1-7 on the Integral Cinema Project YouTube Channel at: https://youtu.be/_pQ1oz2-ppY 

For a deeper dive into the application of Ring Structure to the "Star Wars" saga, check out Mike Klimo's excellent dissection at: http://www.StarWarsRingTheory.com

Information about the Integral Cinema Project: http://www.IntegralCinema.com

If you enjoyed this podcast, you may want to check out "Integral Goes to the Movies" Mark's mind-blowing exploration of the way structures of consciousness are embedded in the moving image. https://youtu.be/qPD1LsbvvpE

Integral Cinematic Metadesign and "Integral Goes to the Movies" Podcast

Join ICP members Mark Allan Kaplan and Jonathan Steigman in this joint Integral Cinema Project and TEHNC podcast as they discuss the tools and techniques they used to create Integral Goes to the Movies, a 90-minute exploration of the way structures of consciousness are embedded in the moving image. Mark's an expert in creating transformational media and they had quite a lively discussion!

This podcast will make more sense if you first watch Integral Goes to the Movies.

The following are the ICP databases shown in the podcast:

• The Co-Evolution of the Moving Image, Consciousness, Culture and Society Timeline (Click on "3D" in the lower left)
• Collectorz Movie Collector Database (Big thanks to Collectorz Software for donating their Movie Collector database software to the Integral Cinema Project)

We hope you enjoy the podcast and deeply appreciate your support! To further support the Integral Cinema Project please click here.

Integral Goes to the Movies on YouTube

Now featured on the Integral Cinema Project YouTube channel, Integral Goes to the Movies, a 90-minute presentation from Mark Allan Kaplan, Ph.D., the creator of Integral Cinema Project, in which he illuminates the structures of consciousness embedded both within various films and within the medium itself. This could change the way you look at film...and just about everything else.

Acclaimed filmmaker and Integral Cinema Project founder Mark Allan Kaplan, Ph.D. presents a mind-blowing new way to look at and think about the moving image in all its evolving forms. This March 16, 2016 talk for Bay Area Integral at the Rudramandir Center in Berkeley, CA has been turbocharged with dozens of visual aids and nearly 100 film clips to create a multi-dimensional visceral experience of the evolution of cinematic consciousness.

Video directed & edited by Jonathan Steigman
With Integral Cinematic Meta-Design by Mark Allan Kaplan
Special thanks to Bay Area Integral and the Bay Area Integral team

The Archetypal Lens: A Presentation for an Integral Approach to Archetypes and Archetypes in the Cinematic Arts

The Archetypal Lens by Mark Allan Kaplan

“The Archetypal Lens” is a presentation exploring the preliminary application of an Integral approach to archetypes and archetypes in the cinematic arts. Presented at MetaIntegral Academy for the Advanced Meta‐Movieology Course on April 16, 2015. (DOI: 10.13140/RG.2.1.3885.0724).

The presentation is available at SlideShare.

Creative Inspiration

Through the years I have been creatively inspired by many things: a beautiful sunset, a tender human moment, a work of art, a song on the radio, a passing comment by a stranger or a passage in a book or newspaper. During my sophomore year of film school I received the creative inspiration for my film Gun, while I was listening to the Beatles' Happiness is a Warm Gun on the stereo and reading a newspaper article about handgun violence. Suddenly, I saw a series of images in my mind's eye, which then unfolded into a series of stories. The rest of the story solidified when I rented a Magnum 44 prop gun and held it in my hand. I felt a powerful force inherent in the gun, which further inspired me to attempt to capture this presence on film. Throughout the entire process of making the film I felt guided by a creative spirit, receiving inspiration at each step along the way.

The word inspiration can be used to describe many things, including the drawing in of breath; a sudden brilliant, creative or timely idea; a creative influence or force that stimulates thoughts and/or ideas; or a divine influence or force that leads to wisdom, understanding, and/or revelation. Besides being inspired to create, I have also had the experience of receiving inspiration in the form of seemingly divine influence and guidance from the creative expression of others.

Rembrandt’s The Night Watch

One of these creative divine inspiration experiences happened to me at the Rijksmuseum in Amsterdam. I remember walking into the room where Rembrandt’s The Night Watch was hung. I froze in my tracks and softly gasped (inspired). The painting’s presence was so powerful that it felt as though I had entered the presence of some great force. The painting seemed alive, as though Rembrandt had captured the life energy of himself, the people he was painting and the presence of the divine, and fused it all into the paint and canvas. I sat in front of the paintings for hours, while it spoke to me through image, character, story, color and light about human struggle and divine yearnings within myself and within all of humanity. The messages I was receiving from the painting seemed to be answering some of the inner questions that had been on my mind just before I entered the museum. That night I lay in bed feeling a deep sense of gratitude for the gifts of the inspiration and guidance I had received at the foot of that giant wondrous canvas.

Art is contemplation.

It is the pleasure of the mind which searches into nature

and which there divines the spirit

of which Nature Herself is animated.

- Auguste Rodin

Months later, I had a similar inspirational guidance experience at the foot of Michelangelo’s David in Florence, Italy. Again, I felt a powerful presence in the work of art. Michelangelo and his David were alive in the stone. As I circled the towering figure, every angle revealed another emotional reality, from great courage to hidden fears. I spent the entire day with David; walking around him; sitting and gazing at him from different angles; and meandering through the gallery of Michelangelo’s other sculptures.

Michelangelo’s David and unfinished sculptures

At one point, I felt an inner prompting to go into the gallery by Michelangelo’s unfinished sculptures. I followed my inner guidance and found myself in the middle of an art class. The instructor was explaining to the students that Michelangelo believed that each piece of stone had an image within it waiting to be released and that the Divine revealed these images to him and his job was merely to release them from their stone encasements.

I saw the angel in the marble 

and carved until I set him free.

- Michelangelo Buonarroti

The instructor went on to say that Michelangelo also felt that a work was complete when he had learned the lesson he needed to learn, so sometimes he would leave a piece physically unfinished because he was finished with it internally. This, he added was a blessing for humanity, because without these unfinished works we wouldn’t understand how he created his masterpieces. Somehow, this information was exactly what I needed to hear in that moment. The lecture combined with the visceral experience of the sculptures gave me guidance for my life as an artist and my journey of the spirit.

Excerpt from the book The Search for a Divinely Guided Life by Mark Allan Kaplan, Ph.D.

Introduction to Meta-Movieology Course Back by Popular Demand

MetaIntegral Academy is excited to once again offer the wonderful and ground-breaking 8-week course in Meta-Movieology created and facilitated by Mark Allan Kaplan beginning on September 4, 2014. Mark is widely recognized as "the preeminent theorist and practitioner of integral cinema" so you are in for a real treat. If you are a movie enthusiast and into integral and evolutionary approaches to personal growth and development, this course is for you!

Register Today...

Meta-Movieology I

An 8-Week Course in Using Movies to More Deeply Understand and Fully Embody an Integral and Evolutionary Perspective

PUT DOWN THE BOOKS, PICK UP THE POPCORN 
AND ENTER THE WORLD OF EVOLUTIONARY ENLIGHTENTAINMENT

From: September 4, 2014 (Thursday) at 12:00am PDT
To: November 9, 2014 (Sunday) at 12:00am PDT

What Is It?
Meta-Movieology is a groundbreaking meta-approach to learning Integral Theory through a transformative moving image viewing practice. In this course you will develop a deeper and more visceral understanding of the basic elements of the Integral approach by using the aesthetic and multisensory power of the moving image for embodied learning and evolutionary growth.

Location:
This event takes place online.

DETAILS:

The moving image in all its evolving forms has a unique capacity for affecting multiple aspects of our being. Movies can make us think and feel deeply; they can give us new perspectives on self, other and world; they can immerse us in other worlds and give us rich and deep embodied experiences. In fact, recent research has revealed that immersive and virtual moving image experiences can actually produce the same neurological and biological responses in our brains and bodies as actual lived experiences.

Over the last several years Mark Allan Kaplan has discovered a profound and fun approach to using the power of movies to help us see, feel, and viscerally experience the integral and evolutionary perspective. This approach includes special viewing practices to help us experientially observe Integral frameworks within any moving image work and extend the profound theoretical concepts and perspectives of the Integral-evolutionary approach from the mind into our emotional and energetic bodies. These experiential perspective-taking exercises help us make the abstract concrete and make it easier for us to extend these perspectives into our everyday lives.

This course is for anyone interested in Integral Theory, for those interested in the transformative power of the moving image, and for anyone who loves movies and is interested in their own personal growth and development. For those unfamiliar with Integral Theory it will offer a simple, powerful, and intuitive way into the integral-evolutionary perspective.  For those already familiar with the Integral model, this is a wonderful opportunity to revisit and viscerally deepen your understanding of integral theory and see and feel how it can be applied to just about any interest, activity, or pursuit that you may have. For those who are interested in their own personal growth and development and love movies, either as a viewer or creator, this work will give you a deeper appreciation and understanding for the medium, along with a greater capacity to use it for healing and growth of self, other and world.

Join Mark for this introductory course, which explores how the six basic Integrally-informed lenses of holons, quadrants, levels, lines, states and types can be utilized as powerful transformational practices for using any moving image work, from movies to video games, for your own evolutionary growth and development. This course will be taught through 8 weekly 2-hour conference calls (recordings for the calls will be posted for participants who are not able to join a call). The first week you will be introduced to Meta-Movieology in general. Each of the subsequent 6 weeks will be devoted to a single Meta-Movieology lens and practice. The final week will be a reflection and wrap up week. Each week Mark will assign practices for you to do that week using that week’s lens. There will also be weekly readings and movie viewing assignments, along with online threaded discussions to connect with fellow participants and deepen your understanding of this work. Don’t miss this exciting opportunity – Integral Theory and the movies will never look or feel the same.

Dates: 8 weeks: Aug. 31st – Sept. 21st; Sept. 28th – Oct. 12th; and Oct.19th – Nov. 9th

Cost: $345.00 USD plus $12.50 handling fee (includes a free download of the Meta-Movieology meditation video “The Pond”)

Number of Participants: Up to 20

Instructor: Mark Allan Kaplan, Ph.D.

Weekly Conference Calls:  Thursdays 1-3pm Pacific Time

September 4 – Week 1: Introduction
September 11 – Week 2: The HOLONIC Sense
September 18  – Week 3: I Heart QUADRANTS
October 2 – Week 4: LEVELS of a Groundhog's Day
October 9 – Week 5: The Imaginarium of Developmental LINES
October 23 – Week 6: Altered STATES
October 30 – Week 7: TYPOLOGY Code
November 6 – Week 8: Conclusion

Note there is no call on September 25th or October 16th.

Weekly Movie Viewing Assignments:*

Week 2: "The Sixth Sense" (1999)
Week 3: "I Heart Huckabees" (2004)
Week 4: "Groundhog Day" (1993)
Week 5: "The Imaginarium of Doctor Parnassus" (2009)
Week 6: "Altered States" (1980)
Week 7: "Source Code" (2011)

*Participants will be required to either rent or buy the movies listed as Weekly Movie Viewing Assignments. All other materials will be supplied by the instructor.

COURSE TESTIMONIALS

"I was surprised at how deep the Meta-Movieology practice goes. After completing the course, I have a richer experience with films, which has cascaded into other areas of my life."
– Heather, San Carlos, CA

"I can't say enough good things about the Meta-Movieology course. It was delightful and profound. This course enabled me to see integral concepts in movies that I had not recognized before and that's saying a lot because I have followed Ken Wilber since his first publications." 
– Dennis, Silver Springs, MD

"Mark is a great teacher! I am out of my league as far as my experience with integral is concerned, yet the materials, movies and weekly discussions in this course met me right where I was at. I found the meditations mind blowing and key to the shifts I am experiencing in my expanding awareness. I feel so fortunate to have stumbled on this opportunity."
– Anne, Charlotte, NC

"The Meta-Movieology course is at the theoretical, practical, and pedagogical cutting-edge of integral and evolutionary film theory and practice – it is a sophisticated training in how to experience film, and therein how to deepen one’s experience of the world within and around us. While being theoretically advanced, this course is taught in a manner that anyone, beginner or advanced practitioner, can readily get and do so with transformative results. I very highly recommend this course of study."
– Michael, Augusta, GA

PRESENTERS

Mark Allan Kaplan, Ph.D. is an independent award-winning filmmaker and the pre-eminent theorist and practitioner of the application of Integral Theory to the cinematic arts.  Mark has a B.A. in Motion Picture and Television Production from the University of Southern California School of Cinematic Arts, an M.F.A. in Motion Picture Directing from the American Film Institute, M.A. and Ph.D. degrees in Psychology from the Institute of Transpersonal Psychology, and a Certificate in Integral Studies from Fielding Graduate University. He has worked professionally in the entertainment industry as a producer, writer, director, editor, researcher, and consultant. Mark’s creative works have been shown on television, in theaters, schools, and colleges, and at film festivals and expositions around the world. He has also conducted seminal research in Integral, transpersonal, transformative, and transdisciplinary approaches to film, video, and multimedia at Interval Research Corporation, the University of Chicago, the University of Illinois at Chicago, and as founder and lead researcher of the Integral Cinema Project, an independent research, production, and educational initiative sponsored by the San Francisco Film Society. Mark received Integral Institute's 2008 Integral Life Award in recognition of his continuing groundbreaking research into the application of Integral Theory to cinematic media theory and practice.

“Mark’s work is the first mature application of Integral Theory to any domain of art.” 
– Sean Esbjörn-Hargens, Ph.D. (Founding CEO of MetaIntegral)

“Mark is the pre-eminent theorist and practitioner of integral cinema and his work represents one of the most advanced and profound meta-theory’s of art and media to date.” 
– Michael Schwartz, Ph.D. (Professor of History and Philosophy of Art, Georgia Regents University)

“Mark’s passionate quest to explore the further reaches of film and media theory and practice is inspiring and holds great promise.”
– Jean Picker Firstenberg (President Emeritus, American Film Institute)

Click here to register - join Mark and other integralists, evolutionaries, and movie enthusiasts in this enlightening and entertaining course!

Introduction to Meta-Movieology

The word “movieology” is traditionally defined as the study of the movies. Meta means “beyond” or “greater than” and Meta-Movieology refers to an approach that goes beyond the mere study of movies to a practice of using the viewing of moving images in all their evolving forms for personal growth, transformation, and evolutionary development.

 Meta-Movieology practice is effective because of the moving image’s unique capacity for affecting multiple aspects of our being. Movies can make us think and feel deeply; they can give us new perspectives on self, other and world; they can immerse us in other worlds and give us rich and deep embodied experiences. In fact, recent research has revealed that immersive and virtual moving image experiences can actually produce the same neurological and biological responses in our brains and bodies as actual lived experiences.

Another factor that makes the movie image a potential tool for transformation is the complex connection and communication between creator, moving image work, viewer, and world. Since all human-made works are the partial product of the human imagination, the imaginary is embedded in all human-made artifacts including and especially, the moving image (2005a). Because humans imagine through imagery (mental images, dream imagery, etc.), and the moving has the unique capacity to concretize or reify imaginary dimensions, in a sense doubling the inner image with an outer image, the moving image is inextricably and uniquely bound with the human imagination. This produces a complex symbiotic-metamorphic web of interaction between the inner images of cinematic creators and viewers and the outer cinematic form, which makes the moving image a potential catalyst for individual and collective evolutionary growth and development (Kaplan, 2013; Morin, 2005a; 2005b).

By means of the [moving image] machine, 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, 2005a, p.218

I have developed the Meta-Movieology practice over the last several years during my research into the application of Integral Theory to cinematic theory and practice. During these explorations I discovered this profound and fun approach to using the power of movies to help us see, feel, and viscerally experience the integral and evolutionary perspective to produce personal transformation and growth. This approach includes special viewing practices to help us experientially observe Integral and evolutionary frameworks within any moving image work and extend the profound theoretical concepts and perspectives of the Integral-evolutionary approach from the mind into our emotional and energetic bodies. These experiential perspective-taking exercises help us make the abstract concrete and make it easier for us to extend these perspectives into our everyday lives.

I discovered that this practice is not just for those of us who watch movies, but for media makers as well. While it is true that you cannot teach someone to have talent, but beyond mastering the craft of media making, I believe that through this practice we can develop the structures of consciousness that are common to all creative masters, and that is the capacity to see multiple aspects of reality with a deeper and more expansive view.

On this coming Thursday, May 15th, 2014, I will be teaching an introductory course in this practice sponsored by MetaIntegral Academy. In this course we will be exploring the basic practices related to the Integral framework elements of HOLONS, QUADRANTS, LEVELS, LINES, STATES and TYPES. In the follow-up advanced course we will explore the advanced Integral perceptual frameworks of ZONES, ALTITUDES, ENERGIES, METHODS, COMPLEXITY, and ARCHETYPES.

You can find out more and sign up for the introductory course at: www.metamovieology.com

References

Kaplan, M. A. (2013). Integral cinematic analysis: Mapping the multiple dimensions of the cinema and the co-evolution of cinema, consciousness, culture, and society. Journal of Integral Theory and Practice, 8(3&4), 255-276. Available at: https://foundation.metaintegral.org/products/integral-cinematic-analysis

Morin, E. (2005a). The cinema, or the imaginary in man. Minneapolis, MN: University of Minnesota Press.

Morin, E. (2005b). The stars. Minneapolis, MN: University of Minnesota Press

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...

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...

Communicating Meaning Through Art

As an artist of many different mediums (film, drawing, text, photography) I can honestly say that on one level it feels like a miracle when a viewer understands my work in the way that I intended it. And there is often another miracle, when the viewer sees something in my work that I did not consciously intend, but when they speak their truth it rings true for me as well.

I have studied the language of my mediums and how each of their material elements communicate differently across cultures and societies; I have studied the psychology of how individuals perceive and view art; I have studied symbols, metaphors, and archetypes across cultures; and I have studied how different states and stages of development in the viewer and the work communicate with each other. I believe all of these are factors in how the artist communicates to the viewer.

Yet, there is also something else involved here; something I learned in the form of both direct experience and teachings from some of the masters of art I have studied with over the years...this something else is that the more a creative work comes from a deeply personal meaningful place in the artist, the more universal its meaning becomes. This is the great paradox of art and meaning; the more personal the work the more universal and the less personal the work the less universal. Actor and playwright Sam Sheppard said it beautifully when he spoke to my class at the AFI many years ago. He said that if an artist starts with a deeply human truth, one from their own experience or one from the life of another, then the work becomes universal because what is true for one human heart resonates with all other human hearts.

As a practitioner of art as an integral spiritual practice, I also see myself as a creative channel for the Divine. When I align myself with the Creative Source as the Divine Suchness, Thou and I AM, the Source speaks through me into the work and out to the viewer. From this perspective, in addition to my own personal meaning being expressed in and through the work, I believe there is a higher meaning being channeled through me and the work that I most often am not even conscious of. Sometimes I discover this meaning when a viewer shares what they received from the work; other times, years later, I discover this hidden meaning when viewing my work from a different place in my own life journey. In the end, each individual views the work from where they are at on their live journey and when a work of art is a channeled work; I believe it has the capacity to become a kind of magic mirror in which the viewer receives the message that is perfect for them at that particular moment on their life path.

From an Integral perspective, I would say that meaning in art is tetra-resonant, in that a work of art can have subjective, material, cultural, and/or social resonance. This resonance channels meaning between the work of art and the viewer, and one can gauge the general message of the art work through any and all of these resonance channels/dimensions. The more this meaning is rooted in a deep truth in any and all of these dimensions, the more universal the message becomes.

In the end, as an artist I never know for sure beforehand if my intended meaning will translate to others; I can only strive to speak the truth as I perceive and feel it and attempt to communicate it through as many resonance channels and dimensions as possible. I have found that I feel that I have communicated with the audience if I have touched them somehow, and I have come to feel that the reception of my intended meaning is not as important as the reception of the meaning that arises through the wondrous and miraculous process of channeling the creative force…

*Image: Enlightenment by Diana Calvario (dicalva)

The Birth of Integral Cinema

La Coquille et le Clergyman (1928)

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. These Integral constructs, as elementarily expressed in Dulac’s La Coquille et le Clergyman, include rudimentary cinematic representations of Gebser’s aperspectival structures of the concretion of time and interiority, and Wilber’s Integral framework of multiple dimension-perspectives with evolving levels of depth and complexity. More recent examples of these types of cinematic structures include: The concretion of time in films like Groundhog Day (1993), where concrete shifts in time affect objective and subjective realities; the concretion of interiority in films like The Matrix (1999), where individual and collective subjective realities are given concrete forms;  and multiple dimension-perspectives of evolving depth and complexity in films like Inception (2010), where the characters move through different dimensions of reality as they evolve toward deeper levels of understanding and being.

While Dulac’s integral cinema movement was a significant contribution to the evolution of the cinema in many ways, it was also short-lived due to several factors. In 1928, the year that Dulac made La Coquille et le Clergyman in France, Hollywood released the first talking picture, The Jazz Singer (1927), and ushered in the sound film era. For many film theorists and historians, the introduction of sound marked the downfall of the artistic trailblazing of the silent film era as cinematic artists attempted to adjust and adapt to the new technological advancement, and audiences became enthralled by the heightened sense of reality of the talking picture (Andrew, 1976). The following year Luis Buñuel and Salvador Dalí made Un Chien Andalou (1929), which took the avant-garde cinema world by storm and established a precursor of postmodern relativism and meaning deconstruction as the center of gravity for the artistic worldview of experimental cinema, overshadowing Dulac’s more integral vision (Ebert, 2000; Short, 2008).

Finally, since Dulac operated from an unconscious expression of a worldview that had yet to be named or theoretically mapped, her integral vision ultimately fell dormant. Wilber notes that some kind of prescient emergence of integral consciousness appeared sporadically throughout Western civilization in the early to mid-20th century. Examples of this emergence include Sri Aurobindo’s Integral Yoga (1921/1990), Jacques Maritain’s Integral Humanism (1996), and Vladimir Soloviev’s Integral Christianity (Kostalevsky, 1997). Wilber also notes that these integral visions, along with Dulac’s, were short-lived because they were initial emergences not supported in all four fundamental domains of experiential, material, cultural, and social realities (Wilber, personal communication, July 20, 2010).

Beginning in the mid-1990s, concurrent with the dissemination of Wilber’s Integral Theory, there has been a growing movement of individuals and groups who have been applying integral principles to their personal and professional lives. In the domain of the cinematic arts, scholar-practitioners have explored the application of Integral Theory to cinematic story creation, acting, and video game design (Melody, 2008; Ornst, 2008; Silbiger, 2010). In addition, several cinematic artists have begun to explore and engage in dialogue about Integral Theory in relation to both their personal and professional lives (Aronofsky & Davis, 2006; Brill & Wilber, 2006; Crichton & Wilber, 2004; Konietzko & Davis, 2007; Ormond & Wilber, 2004; Stone & Wilber, 2007; Wachowski & Wilber, 2004). Wilber’s Integral Theory was also an inspiration to filmmakers Larry and Andy Wachowski (Wachowski & Wilber, 2004) in the development of The Matrix (1999), The Matrix Reloaded (2003), and The Matrix Revolutions (2003). The Wachowski brothers also invited Wilber to record a commentary on the films for The Ultimate Matrix Collection (2004), a complete DVD set of the films. Nearly three quarters of a century after Dulac’s work, many people within the integral and cinematic arts communities are raising the same question that Dulac asked many years ago: “What is Integral Cinema?”

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This material is an adapted excerpt from: Kaplan, M. A. (2010). Toward an integral cinema: The application of integral theory to cinematic media theory and practice. Journal of Integral Theory and Practice, 5(4), 112-138. Copyright © 2010 by Integral Institute. The complete article is available for download at Integral+Life.com.

Germaine Dulac’s La coquille et le clergyman is available for viewing online in its entirety at: http://www.ubu.com/film/dulac_coquille.html

Toward an Integral Cinema

Announcing the publication of…

Towards an Integral Cinema:
The Application of Integral Theory to Cinematic Media Theory and Practice

By Mark Allan Kaplan, Ph.D.

ABSTRACT: Germaine Dulac’s “integral cinema movement” of the 1920s and her integral cinematic work, La Coquille et le Clergyman (1928), are analyzed from a historical and theoretical perspective. Results suggest an early introduction of integral consciousness into cinematic media that corresponds to and predates the integral theories of both Jean Gebser and Ken Wilber. Defining characteristics of what may constitute an integral cinematic work are mapped out and developed into a set of evaluation criteria using the works of Dulac, Gebser, and Wilber. A test of these evaluation criteria with the viewing of several motion pictures is summarized; the results suggest that several past and recent films demonstrate qualities that could be said to constitute an integral cinematic work. A preliminary typology of forms of integral cinematic creation, and the potential benefits and challenges for the application of Integral Theory to cinematic theory and practice are presented and discussed.

Published in The Journal of Integral Theory and Practice, 2010, Volume 5, Number 4, Pages 112-138.

The complete article is available for download at:

The SUNY Press eBookStore

Synchronization of the Senses

Renowned Russian filmmaker and film theory pioneer Sergei Eisenstein (1898-1948) postulated that the unique nature of the cinema produces a holistic and transcendent "synchronization of the senses" through the "integration of word, image and sound, and the accumulation of successive images and sounds [that serve] to construct perception, meaning, and emotion". After years of cinematic experimentation and "a thorough analysis of the nature of audiovisual phenomena," Eisenstein believed that the conscious manipulation of this sensory synchronization could allow the filmmaker to converse with his or her audience on higher, deeper, and subtler levels of communication by more closely replicating the multidimensional sensory stimulation of actual lived experience.

An example of the power of this consciously controlled sensory synchronization can be found in the film Chariots of Fire (1981). In this British cinema classic, the filmmakers combine the images and sounds of the experience of running with an emotionally expressive musical score to viscerally communicate the peak experience of running. When this synchronization of image, sound, and music integrates with the film’s plot, performances, and dialogue, the audience is able to experience the ephemeral and transformative emotions involved in the physical and spiritual struggle for glory.