domingo, 31 de marzo de 2019

EMOTION AND CYBERNETICS IN A VIRTUAL WORLD.

THE APP THAT TEACHES SERENITY...

As we have stated before, Perucine.blogspot.com is tasting and testing virtual world technologies that belong to the future of the time frame we are "living" now.

The particular test under development right now demands the understaning of a virtual world that teaches the user how to achieve serenity. This app, based on nerve stimulating implants, artificial intelligence, and visually naturalistic environments (photorealistic Computer Generates Images [CGI].


creates stressful situations that must be faced by the user. The "player" must keep calm at all times and avoid thinking, waiting until the stressful situation disappears. As simple as this might sound, there is a single requirement that make this more challenging:

1) The nerve stimulating implants interact with the artificial intelligence, and the "player" upload information to the artificial intelligence through information collected from the "environment" by the nerve stimulating implants. The CGI changes the appearance of the environment and the "player" to illustrate the interaction and the passing of time: the climate "changes," the people "grow," etc. Therefore, it seems as if there were "logic" in the virtual world, and as if there were "natural laws." As a consequence, the "player" assumes that he is living in a "world" that is "real", that is subjected to social rules and indifferent physical and chemical "laws." Under these circumstances it is a bit complicated to understand that your consciousness is an artificial one and that the situations you are facing are part of a game.

Even though this requirement implies that you are trapped inside a virtual world, the APP provides clues to identify the digital or binary nature of the world you are in. Some of the clues are:

1) Encrypted in the common language. If you read the words with a different pattern, moving the letters around, you can notice that the message has a second layer. If you speak a language different from English, you will notice that translating the word into English and reading it in you language may make more sense.

For example: "Once upon a time...." begins with the word "once" (one time) but in Spanish it means "ELEVEN" (the number 11.)  And in Spanish the English word for the number eleven can be read as "El E VE N" = Él electronic ve en (He electronic watches in.)
Él (in Spanish is the third person pronoum) - 
E (electronic, like in e-mail) -
VE (In Spanish it means both, "go" and "watch" or "see") -
N (In Spanish the sound of "n" means what in English is written as "in".)

Another example: Zero (in English) = 0 = Cero (in Spanish)
In Spanish, "zero" may sound a bit like "serious" (serio), including an "i". In Spanish "serious" is "serio." But, at the same time, "serio" if formed by two syllables: se-rio, which could mean, written like this "se rió" that "he laughed." Or, due to the fact that the vowel "i" in Spanish may sound like the consonant "y", "serio" could be read as "ser yo" (to be me.) Therefore, 0 (zero) could be "serious" and "to be me", which would mean, combining the meanings, "serious" "is me" in English and "serio se rió" (the serious [man/woman] laughed) or "se rió, ser yo" (he/she laughed, he/she is me.) If you have seen the movie "The Man Who Knew Too Much" (1956) you know that the actress Doris Day sings "lo que será, será", which means "what will be, will be." The word "será" (it will be) is similar to "cero" (zero) because the "c" sounds like the "s" in that word in Spanish. So, Doris Day may be singing "what zero, zero", or, "lo que cero, cero" which in both languages, English and Spanish implies that what is nothing, nothing is, or, what is serious, serious is. Additionally, the is a word that means "he will become crazy" (enloquecerá), which sounds like "lo que será" (what will be) with the particle "en" added at the beggining (en-lo-que-ce-rá.) The song sang by Doris Day would mean that "he/she wll become crazy/mad." Do you notice how the computer plays with the possibilities of the written and spoken languages?

2) Encryped in visual metaphors. The virtual enviroment is built with visual metaphors, but you don't know that while you are collecting data at the initial stages of the game. After a time, that can be "several years" you may notice that unusual or irritating situations around you imply something you have been thinking about. The (let's us called it 'quantum') computer that is running the game uses images related to words and the sound of words from different languages. So, unless your vocabulary grows it seems that getting the meaning would be complicated.

For example: "He electronic watches in" is a sentence not that clear. If you speak a language different from English in the virtual world, you know that "watches" resembles "washes." Also, in English, to watch (mirar) is a verb, but a "watch" (reloj) is a thing. The 'quantum' computer may represent "to watch" with a clock, like in the comic book "The Watchmen." There are as many metaphors as you can imagine and the computer uses them all and it seems to create new ones because as "players" we don't know all the dictionaries in "the (virtual) world."

Under this circumstance, how can you notice that you are in a virtual world?
Well, the computer creates events related to what you think (the visual metaphor sometimes is related to being drunk (borracho) because "to drink" (alcohol) and "to think" resemble each other; or the metaphor is related to the words "sink" (lavabo) or sinking (hundimiento) because, at least in Spanish, these words sound like "think".) When you notice that the computer is taking advantage of what you think in order to exert pressure on you, you begin to understand "the game."

If you like movies, you can see it explained in "The Game" (1997): how did CRS (Consumer Recreation Services) designed and executed its gimmick? The explanation is "through a virtual world." The same as strange situations in "Westworld" (TV series) can easily be explained if we notice that everything happens inside a virtual world ruled by Robert Ford's mind.

http://consumerrecreationservices.co.uk/who-we-are/
http://consumerrecreationservices.co.uk/testimonials/
http://consumerrecreationservices.co.uk/games/level-6/

http://ucpgroup.co.uk/

http://jamesbondexperience.com/missions/mission-2/

Why would Forrest Gump be so successful after a time? Because he didn't think or feel so much!
Why would Trinity and Neo fight without facial expressions inside the matrix? Because it is a clue!
Why would Lieutenant Speer (Clint Eastwood) be expressionles while facing several shooters in City Heat (1984)?
All these performances point out the need of being serene in front of stressful situations. The APP Perucine.blogspot.com is testing generates loads of stressful situations that pretend to be undetectable and to follow intrinsec systemic patterns, which is not the case. In fact, being in this virtual world is like being in the cheapest soap opera, if you believe in what surrounds you. If you stay quiet, the situation will solve itself. This is the goal of the game: to attain a permanent state of serenity.
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miércoles, 27 de marzo de 2019

LEONIDAS ZEGARRA / ALFRED HITCHCOCK. ASESINO - ROJO. "MARÍA Y LOS NIÑOS POBRES" (2010) Y "MARNIE" (1964) ["MARNIE, LA LADRONA"].

"María y los niños pobres" (2010) / "Marnie" (1964) ["Marnie, la ladrona"].
Leonidas Zegarra / Alfred Hitchcock.


"María y los niños pobres" (2010) / "Marnie" (1964) ["Marnie, la ladrona"].
Leonidas Zegarra / Alfred Hitchcock.

 1:09:39.
"María y los niños pobres" (2010). Director: Leonidas Zegarra.
 1:09:46.
"María y los niños pobres" (2010). Director Leonidas Zegarra.
https://youtu.be/WkHjp8D2Abs?t=311

1:10:03.
"María y los niños pobres" (2010). Director: Leonidas Zegarra.
https://youtu.be/WkHjp8D2Abs?t=331

 1:37:42.
"Marnie" (1964) ["Marnie, la ladrona"]. Director: Alfred Hitchcock.

2:04:53.
"Marnie" (1964) ["Marnie, la ladrona"]. Director: Alfred Hitchcock.

La tonalidad roja es utilizada en "Marnie" (1964) para hacer referencia los estados de angustia intensa que experimenta la protagonista, 'Marnie' (representada por 'Tippi' Hedren). En "María y los niños pobres" (2010) la tonalidad roja es utilizada para expresar la rabia que invade a los personajes. En "Marnie" existe solamente un plano muy breve en el cual Mark Rutland (representado por Sean Connery) señala colocando la mano cerca a la cámara. Es un plano sencillo de reconocer y recordar por la función que cumple. Al estar acompañado de la palabra "rojo", el gesto de Mark Rutland desencadena la angustia de "Marnie" y avasalla su resistencia psicológica. En "María y los niños pobres" la cólera se produce primero en un personaje masculino, un adulto, y en un niño, quienes han contemplado que se atropelló a una niña. Ambos se expresan exaltadamente. Luego, de varios planos, el adulto realizará el mismo gesto que Mark Rutland para señalar al conductor responsable del atropello, mientras repite "asesino, asesino", intentando someterlo psicológicamente. Leonidas Zegarra no aplica la tonalidad roja a una mujer, como Alfred Hitchcock, sino a un varón adulto y a un niño. Y mientras en el filme de Hitchcock el gesto y lo que dice el personaje masculino desencadena un estado de angustia en una mujer, en el filme de Don Leonidas es la exaltación o indignación de un varón adulto lo que lo lleva a acusar y señalar al conductor participante en el atropello, otro varón adulto, el cual también experimenta angustia de modo evidente, pero al que no se le aplica la tonalidad roja. Don Leonidas Zegarra se apropia de las tonalidades rojas de "Marnie" con una un significado distinto y también asimila a su narración uno de los planos más distintivos de "Marnie". Como en "María y los niños pobres" es un mismo personaje al que recibe la tonalidad roja y señala con la mano cerca de la cámara, se facilita establecer la relación con los recursos visuales de "Marnie". Cuando menos, para los interesados en la historia del estilo cinematográfico, se hacen evidentes los jugueteos que realiza don Leonidas con los materiales de filmes precedentes realizados por otros cineastas.

En "Marnie" la tonalidad roja es pulsante, y aparece y desaparece. En "María y los niños pobres" la tonalidad roja permanece estable durante el estado más exaltado de los protagonistas, inmediatamente después de la tragedia, luego desaparece, aún cuando se encuentren exaltados.

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miércoles, 13 de marzo de 2019

LEONIDAS ZEGARRA / ORSON WELLES. AUXILIO - ROSEBUD. "MARÍA Y LOS NIÑOS POBRES" (2010) Y "CITIZEN KANE" (1941) ["CIUDADANO KANE"].

"María y los niños pobres" (2010) / "Ciudadano Kane" (1941) ["Citizen Kane"].
Leonidas Zegarra / Orson Welles.

MARÍA Y LOS NIÑOS POBRES (2010)

CIUDADANO KANE (1941) [CITIZEN KANE]

La Casa Museo Leonidas Zegarra, dentro de los estudios relativos a la obra de Don Leonidas Zegarra Uceda, cineasta peruano extraordinario, ha identificado sus homenajes a distintos cineastas cuyas películas han devenido referentes cinematográficos. Valiéndose de sus amplísimos conocimientos sobre el séptimo arte, Don Leonidas Zegarra reinterpreta filmes famosos incluyendo planos cuyo significado es trabajado según las historias que se ajustan a su propia sensibilidad.

Un homenaje evidente de Don Leonidas Zegarra al director estadounidense Orson Welles, se aprecia en el largometraje del año 2010 "María y los niños pobres". Una niña grita "¡Auxilio!... ¡auxilio!" y se enmarca su boca, de modo similar a como en 1941, el personaje principal de "Citizen Kane" ("Ciudadano Kane") musita "Rosebud", palabra misteriosa que constituye una petición melancólica de auxilio del personaje hacia su propio pasado.

La capacidad de Don Leonidas Zegarra para infiltrar homenajes y referencias sutiles en sus filmes, en una de las fuentes de gozo de los admiradores de su obra. Solamente un estudio serio y sostenido de las joyas cinematográficas elaboradas por Don Leonidas Zegarra, permitirán situar su obra artística en el sitial que le corresponde. Para suerte de los cinéfilos del mundo entero, académicos y artistas que poseen la perspicacia necesaria para identificar los valores de la obra del cineasta liberteño, están al servicio de los objetivos de la Casa Museo Leonidas Zegarra.

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