Thursday, July 28, 2011

Thursday, July 21, 2011

CINEMIXA IN JAPAN

SILENT FRENCH BLACK AND WHITE AND HAND COLOURED FILMS, MADE IN THE EARLIEST DAYS OF FILM MAKING BY VISIONARY FILM MAKERS, ARE THEN SCREENED AND ACCOMPANIED BY LIVE IMPROVISED ELECTRONIC AND NOISE AND WIND AND KEYBOARD SYNTHESIZER PERFORMED MUSIC. THIS IS A CREATIVE VISION AND SOUND CROSSOVER EXPERIENCE THAT OFFERS AN EXPERIMENTAL APPROACH AND INTERPRETATION TO VISION AND SOUND.

CINEMIXA™ is a trio from France that features guest musicians when "sound tracking" abroad. This time, special guest is MORGAN FISHER.

CINEMIXA™ are in demand all over the world for their creative, cultural and entertaining performance. Recent shows have been Algeria, Jordan, Russia, Ethiopia, Ghana, South America and many more.

They have "sound tracked" numerous features and short films such as the expressionist "He, who get slapped" [Victor Sjostrom, 1924], the sci-fi visionaire "Paris sleeping" [René Clair, 1923] or the surrealist tale "Balançoire“ [Noël Renard, 1928].
NAME: CINEMIXA at L’Institut Franco-Japonais de Tokyo (with special guest Morgan Fisher)
NOTE: This is a small premium film venue with excellent sound and vision. There are only 108 seats.
WHERE: L’Institut Franco-Japonais de Tokyo, Iidabashi, Tokyo
WHEN: July 28th 2011 (Thursday) Doors Open19:00
START: Show Start 19:30 ~ 21:00
COST: L’Institut Members:1500 YEN 
Non Members: 2000 YEN

Tickets On Sale NOW!!!
You must reserve ticket! Ticket Reservations: L’Institut Franco-Japonais de Tokyo: 03-5206-2500

More info here

Monday, July 11, 2011

On Learning and Creativity- David Bohm




“One of the primary blocks to such latent creativity is what Bohm refers to as ‘self-sustaining’ confusion in the mind, in contrast to ‘simple’ confusion. Simple confusion is that which we experience when for instance, we don’t understand directions we are given, or when we can’t find the solution to a puzzle. Self-sustaining confusion, on the other hand occurs ‘when the mind is trying to escape awareness of conflict…in which one’s deep intention is really to avoid perceiving the fact, rather than to sort it out and make it clear’ Bohm points out that this process creates an order of its own: a reflexive state of dullness in which the natural agility of the mind is replaced is replaced with a torpor on the one hand, mechanical and meaningless fantasies on the other. Unfortunately says Bohm, this has come to be considered a normal state of mind, and is therefore endemic to our culture.”

-Lee Nichols, Preface to the Routledge Classics Edition of David Bohm’s “On Creativity”, Routledge 1997.