We humans (not to speak for any other species) have our distinct capabilities of perceiving and judging change, or difference.
We perceive configurations that we call past, present, and future, dreaming and waking, superimposed in [dis]continuous scenarios of spacetime and possibility. Knowingly and not-knowingly, actively and passively, we are always responding, deciding, and orienting ourselves among these scenarios.
Thus, with various degrees of perceptiveness and freedom, we imagine our reality in a world of change. With recognized values, we set our goals and work to establish the means to frame our ongoing self-organization as best we can and must. We build scenarios, mise-en-scène. We do this with efficiency and with deficiency.
By cinemaesthetic means, we are now experiencing new capacities of perceiving and judging change, of awaring our awaring. These capacities are not limited to historically familiar perceptions of spacetime, distinctions of dreaming/waking, or practices of values.
Cinemaesthesia describes a quality of integral consciousness (efficient and deficient) presentiating magical, mythic, and mental modes of awareness while surpassing some of the boundaries discerned in each. Of great importance, cinemaesthetic experience is in new ways disclosing the boundlessness—the possibilities and the dangers—of the archaic.
We are perceiving and judging transmutations of world life without precedent in human experience. Cinemaesthesia is a term for describing this new field of possibilities as we come to ourselves participating, efficiently and deficiently, in these transmutations.
We perceive configurations that we call past, present, and future, dreaming and waking, superimposed in [dis]continuous scenarios of spacetime and possibility. Knowingly and not-knowingly, actively and passively, we are always responding, deciding, and orienting ourselves among these scenarios.
Thus, with various degrees of perceptiveness and freedom, we imagine our reality in a world of change. With recognized values, we set our goals and work to establish the means to frame our ongoing self-organization as best we can and must. We build scenarios, mise-en-scène. We do this with efficiency and with deficiency.
By cinemaesthetic means, we are now experiencing new capacities of perceiving and judging change, of awaring our awaring. These capacities are not limited to historically familiar perceptions of spacetime, distinctions of dreaming/waking, or practices of values.
Cinemaesthesia describes a quality of integral consciousness (efficient and deficient) presentiating magical, mythic, and mental modes of awareness while surpassing some of the boundaries discerned in each. Of great importance, cinemaesthetic experience is in new ways disclosing the boundlessness—the possibilities and the dangers—of the archaic.
We are perceiving and judging transmutations of world life without precedent in human experience. Cinemaesthesia is a term for describing this new field of possibilities as we come to ourselves participating, efficiently and deficiently, in these transmutations.
By integration we mean a fully completed and realized wholeness--the bringing about of an integrum, i.e., the re-establishment of the inviolate and pristine state of origin by incorporating the wealth of all subsequent achievement.... The difficulty...is that in every instance we are necessarily dealing with the ability of our faculty of consciousness to adapt itself to the different degrees of consciousness of the various structures.... Only when they are integrated via a concretion can they become transparent in their entirety and present, or diaphanous....
~ Jean Gebser [EPO 99]
No comments:
Post a Comment