What do Bigfoot believers, ‘Intelligent Design’ cheats, and ‘Panaphonic’ and ‘Somy’ electrical gear fraudsters have in common?

Seeing is believing – this shows incontrovertible proof that bigfoots exist!

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. What do Bigfoot believers, ‘Intelligent Design’ cheats, and ‘Panaphonic’ and ‘Somy’ electrical gear  fraudsters have in common?

– my response to Brendan Cook’s article ‘Bears in the Woods’

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Brendan Cook has written an extraordinarily well-crafted piece entitled - The Bears in the Woods. It clinically exposes various kinds of fraud and fraudulent thinking.

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This post of mine is by way of an appreciative response, and an attempt to show what underlies the kinds of fraud about which Brendan so eloquently writes.

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The subjects of The Bears in the Wood are a roll call of evils buzzing around in our world – deception, self-deception, sowing confusion, superstition, fundamentalism, forms of truth-telling masquerading as their opposite number……

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These, and a whole fist-full of others, are the symptoms – but what is the disease?

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The disease is the inability, or unwillingness, to understand the different forms of truth-telling.  Ken Wilber has described the three ways of truth, and their telling, in two or three of his books.  He called them the ‘I’ ‘WE’ and ‘IT’ voices, three means by which we investigate reality and express ourselves.

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There’s nothing strange about I, WE and IT they are our forms of expression that correspond to the three major academic groupings the Arts, The Sciences and The Humanities.

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If you are a Scientist you are concerned, primarily, with IT-truth i.e. the kind of truth-telling about objective reality, using the methodologies of science.

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If you are an Arts-person you are primarily concerned with I-truth – the subjective truth that says ‘this is how it looks and feels to me, where I am, being me’.

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If you are a Humanities person you are, primarily, concerned, primarily with moral truth – as action in the world.

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Of course each form of truth-telling makes use of the other two – we are after all a single individuation of the human spirit!

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Interestingly spiritual-mystical experience is inevitably an ‘I’ form of truth-telling – it can be no other, and the mystical is the core of religion and religiosity.  However the study of religion and the action of religion falls under the moral truth of the Humanities.

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Religion is harmful, useless even, not only if it is the cause of conflict but also if it fails to lead to right action, in the world, in service of others.

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I have published 21 posts (of varying length and quality!) on our three I, WE and IT ways of being, expressing, and doing,  i.e.  HERE

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The reasons that people are deceived, or self-deceive, are of course, a different subject.  They might include the need for a security blanket, the need for certainty, the need to be right, the need to be on a side that looks like the winning group, the desire to be of the chosen people etc.

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Of course there are also plenty of snake-oil salesmen willing to start a religious group through which  they can manipulate and exploit those with such needs as I’ve listed above.  Fundamentalism is as Karen Armstrong says ‘the lust for certainty’.  Intelligent design is an unwillingness to focus on the real benefit of religion as an inspiring story and focus instead on mind-bending, mind-destroying literalism.

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Karen Armstrong is one of two writers who brilliantly expose the nonsense of misappropriating the methods and claims of one form of truth-telling in trying to operate in another.  (Terry Eagleton is the other).  Key to this understanding is the restitution of Mythos (heart-knowing, intuition) as the partner to Logos (reason, head-knowing).  For more on this see my posts, (of variable length and quality!) - HERE

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There is I believe a positive correlation between the historic subjugation of women and the sustained attempt to eliminate the voice of Mythos. Although the in-validation of Mythos is not strictly a gender issue, more the invalidation of the feminine, heart-knowing ,voice.    (Mythos unlike Logos isn’t in the WORD 2007 dictionary – it slipped away like women in history)

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Armstrong again writes at length about the restitution of Mythos, to counter-balance Logos, in her latest book HERE

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Two of the key phrases in The Bears in the Woods are;

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1) ‘and his standard of proof changes‘ – (the Bigfoot believer, Intelligent Designer believer etc) -  this of course points up the need to have moral integrity and the ability to understand the positives and negatives of the three major forms of truth-telling.  Above all it points up the hypocrisy of relying on a set of criteria only when it suits pre-judice.

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2) ‘he’s doing for personal fulfillment‘ (the Bigfoot believer) – this is a clear example of what happens when we are demanding one set of truth by misapplying and distorting one set of truth-telling rules.  The individual, the big-foot believer should be doing art about fantasy creatures instead of trying to justify the unjustifiable via unwarranted ‘scientific’ assertions.  This of course is ‘scientism’.

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Is ‘religionism’ a co-equivalent term for scientism? – to describe the mis-application of its form of truth-telling?  There is dire need for such a term.

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Another excellent cultural critic Terry Eagleton has also recently published a book highly relevant to this discussion.  There is a review of both Armstrong’s book and the Eagleton book –  HERE

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What do Bigfoot believers, ‘Intelligent Design’ cheats, and ‘Panaphonic’ and ‘Somy’ electrical gear fraudsters have in common? – ultimately an aversion to truth and integrity and honesty.  What is the antidote?

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Education is the answer, but between the cynical exploitation of children and youth, as in the deification of wretched specimens like Michael Jackson, and the equally cynical exploitation of the parents by snake-oil religionists it takes special souls to escape the morass!

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Understanding the difference between I truth, IT truth and WE truth can help some.  Others are just on the make, or simply feel snug in their fundamentally-wrapped-up world.

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Why see shades of grey when black and white thinking gives so much more self-satisfaction?

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“Watch out the tides coming in!”

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Dualities 1 – from a photographic series

From the series ‘Dualities’

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Reflection on Muybridge’s animated horse

1st draft

.‘Animated’ racehorse by photographer Eadweard Muybridge – works in Internet Explorer and FireFox but not Chrome – source WikiPedia

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REFLECTIONS:

As  a piece of science this work settled a dispute, argued over for a long time: horses’ hooves are all off the ground in galloping.

As a piece of (scientific) photography it is pivotal.

It is mesmerising cinema – the still pictures combine to show how beautiful was this particular horse – its legs and musculature are exquisite in motion.

When we become poetic or mystical it teaches us about such essentials as;

appearance and reality

moments gone and moments captured

flow

nowness

the limits of the human eye and brain

knowing and knowledge, the unknown, the knowable and unknowable

There remains the mystery of the jockey to deconstruct!

This set of evolving reflections relates to the introductory essay to this site HERE

I love all images on the cusp between representational and abstract

MY COMMENT: This is by Bernhard Edmaier – his book is ‘Earthsong’

SEE: http://en.wikipedia.org/wiki/Bernhard_Edmaier

What is it to be fully and positively human?

Introduction to – ‘1000 WAYS OF CELEBRATING THE HUMAN SPIRIT’

NB – All newest posts are below this fixed  ‘Intro’.  Use SEARCH for the subjects you are interested in.

.‘Animated’ racehorse by photographer Eadweard Muybridge -  Source WikiPedia

Celebrating the human spirit is positive, and anyway it is better to light a candle than curse the darkness.

In celebrating the human spirit we can also enjoy humour that is made possible from our foolish ways. Humour is a balm and gives us experience and healing that’s a bit like art or true spirituality.

What matters is whether we are fair, kind, creative, truth-telling and wise. Personally I don’t care whether a person is an atheist or religious.  What good things they produce is what matters.

Why 1000 ways?  Well there are many paths to the top of a mountain, but only one summit.

We either believe in a unitive force behind the universe, of which we are all one infinitesimal part, or we believe that chaos reigns supreme.  It doesn’t matter what we believe – what matters is what we do with what we believe.

We are what we think.  All that we are arises with our thoughts.  With our thoughts, we make our world.  (Buddha)

4th July 2009

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See HERE for ‘My other sites and their connections!‘

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INTRODUCTION:

“The whole is greater than the sum of its parts.” – Aristotle, in The Metaphysics.

Celebrating the good things about the human spirit is positive – at the very least it is better to light a candle than curse the darkness!

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I have found no better representation of my combined interests – Art: Science: Education: Photography etc – than Muybridge’s magnificent horse ‘animation’  .    I reflect on it HERE.

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In celebrating the human spirit we can also enjoy humour, made possible from our ‘foolish ways’. Humour is a balm that gives us experience and healing that’s a bit like art, or true spirituality, or carnivals.  Why does you work?  It release stress – and makes us whole again.

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What matters most is whether we are fair, kind, creative, truth-telling and wise.  Such virtues define the depth of our humanity, regardless of belief systems.

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Personally therefore I don’t care whether a person is an atheist or a religionist.  What ‘good things’ each person produces is what matters.  Regrettably many religions and belief systems don’t lead to light and love because they are corrupted with hypocrisy, manipulation and fundamentalism and a host of such curses.  The best of religion is however love and light – you’ll find it beneath the dung-heap of man-made distortions!

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Why 1000 ways?  Well there are many paths to the top of a mountain – but only one summit.

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We either believe in a unitive force behind the universe, of which we are all one infinitesimal part, or we believe that chaos reigns supreme.  It doesn’t matter what we believe – what matters is what we do with what we believe.

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WHAT ARE WE?

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“We are what we think.  All that we are arises with our thoughts.  With our thoughts, we make our world”. – Buddha

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We are a manifestation of energy – or if you prefer we are each a large bunch of atoms through which the life-force flows.

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See HERE for ‘My sites and their connections!’

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If you are hassled and frazzled why not take -

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60 SECONDS TIME-OUT

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Updated 20th Aug 2009 – NB – All the newest posts are below this continuously evolving ‘Introduction’

Tin foil ghosts of women by Kader Attia at London’s Saatchi gallery

Click HERE to have your say about this article –  at SEESMIC  video discussion

We enjoyed immensly our visit to Unveiled: New art from the middle-east at London’s Saatchi Gallery.  This ‘review’ is about Ghost by Kader Attia – and how it is great work – including for teachers or home-schoolers.  (Exhibition ends 9th May 2009)

 

Kader Attia - Ghost - 2007 - Aluminium foil - Dimensions variable – Saatchi Gallery, London

In Ghost, a large installation of a group of Muslim women in prayer, Attia renders their bodies as vacant shells, empty hoods devoid of personhood or spirit. Made from tin foil – a domestic, throw away material – Attia’s figures become alien and futuristic, synthesising the abject and divine. Bowing in shimmering meditation, their ritual is equally seductive and hollow, questioning modern ideologies – from religion to nationalism and consumerism – in relation to individual identity, social perception, devotion and exclusion. Attia’s Ghost evokes contemplation of the human condition as vulnerable and mortal; his impoverished materials suggest alternative histories or understandings of the world, manifest in individual and temporal experience. (This is the gallery description)

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Draft Notes for suggested lessons:

I always admire simplicity – creating a profound piece just by wrapping aluminium foil around a room full of kneeling women – great simplicity.

Presence and absence – traces – how and it what ways do people live on.

Why might the artist have called the piece Ghost as opposed to Ghosts?  Which do you prefer and why?

What makes a person a person?

Which bits of the gallery description of Ghost make good sense to you  - and which don’t – and why?

Two of the most important concerns in a person’s development are 1) identity – who am I? and 2) purpose – what am I dedicating my life to?  What has Ghost to do with identity and purpose?

How powerful might it be if, as a performance piece, a real live woman came and filled one of the places?  Would you dress her in aluminium or not – how else would you dress her?  Would she speak to the audience?  What would she say?

The aluminium creates boundaries, forms – of people who were/are/aren’t no more.  Is there spirit to go with the form – or not?  If so what is it – where is it – whose spirit is it?

What are your feelings about the women whose forms gave rise to the ghost/s?

How might a fundamentalist respond to this piece?  How might a modern believer respond to this piece?  

Create a conversation betwen two such people.  

What would the whole thing be like if the women had been from Christian/Jewish/Hindu/Buddhist etc background?

What conclusions do you come to as a result of viewing the photograph  - or better still having visited the exhibition?

How would you use your/the above ideas to make your own art?

We look but do we see? – seeing by design

Rob Forbes leads us into seeing more by design;

MOBA – How important is bad art – and why?

It’s just a joke –  a museum of bad art?  I suspect that MOBA  provides many interesting questions – and probably insights – what do you think?

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.The WikiPedia article tells us;

The Museum of Bad Art (MOBA) is a world-renowned institution dedicated to showcasing the finest art acquired from Boston-area refuse.

The museum started in a pile of trash in 1994, in a serendipitous moment when an antiques dealer came across a painting of astonishing power and compositional incompetence that had been tragically discarded.

Its magnetic pull was immediate; it has since inspired a collection of 500 masterful pieces of art so awful they prompt viewers to appeal loudly for divine intervention.

Located next to two Massachusetts bathrooms, the museum’s collection aspires to be a monument to creative ecstasy that has resulted in glorious failure.

Only the most arresting paintings and sculptures are accepted by MOBA, but priority goes to those that prominently feature a monkey or a poodle.

Public reaction has been overwhelming, freeing the art-loving community to point and laugh at art everywhere.

Two of their pieces have been stolen, so alarming the museum that they promptly offered a reward in the amount of $6.50 for their return. Some of their more notable pieces show a footless John Ashcroft wearing a diaper, and a hula skirt-wearing wiener dog juggling bones. Such enigmatic images invoke so many mysteries that they are often unable to be explained by artists themselves. (more…)

Love and the Poetic Heart – pathways to the same reality

There is a wonderful essay by Dr Hossein Elahi Ghomshei on the role of poetry to be found – where else –  on the Buddhist SGI website.

The essay starts like this;

The Rose and the Nightingale: The role of poetry in Persian culture

by Dr. Hossein Elahi Ghomshei

Persia has been admired as a land where people walk on silk carpets and talk the language of poetry.

Poetry in Persian culture is not simply an art: rather it’s the very image of life, terrestrial and celestial; the perennial philosophy, the holy scripture, the minstrel, the music and the song, the feast and revelry, the garden, the Rose and the Nightingale, and a detailed agenda for daily life.

In the lyric poetry of Rumi, Sadi and Hafiz you can hardly find a sonnet that does not contain the wine, the bard and the beloved. In didactic and mystical poetry, commonly in rhyming couplets, the same theme of Love runs throughout like running brooks of milk and wine and honey of Paradise as described in the Koran.

The word saqi in Persian literature is the counterpart of the muse in Western culture and fulfills exactly the same service as the muse to inspire the poet, to illuminate what is dark, to raise what is low, that the poet may assert the eternal providence and justify the ways of God to man.

In Persian poetry, as in all good poetry of the world, Love is the greatest circle of attraction and affection, with no one left out of the circle. The story of David, the prophet of Love, who had 99 wives and still yearned after another one, according to religious traditions, is interpreted by Rumi as a reference to the 100-percent nature of Love: If there is a single person in the whole world whom you hate, you are not a lover.

Sadi, in one of his famous sonnets (ghazal), says:

I’m in Love with the whole world, for the whole world belongs to my beloved.

Love is at peace with all religions, all ethnic groups, and all colors, languages, races and tribes, as expressed in hundreds of sublime poems in Persian poetry:

O my Christian beloved,
O my Armenian friend,
Either you come and be a Muslim
Or I will take the girdle and become a Christian.

In the realm of Love, there is no difference between a mosque and a monastery.

You can behold the light of the eternal beloved wherever you turn your face.

–Hafiz

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To read the full essay go HERE

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The Buddhist SGI site is – HERE

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America stalled, the dollar and Native American Women

fig. 2: Stalled, Oil paint on photograph
© Peña Bonita,1988

Joan M. Jensen, Professor Emerita, at New Mexico State University has written a fine essay on Native American Women Photographers As Storytellers. It combines about a dozen of my interests but has wider resonance, not least in her choice of the above photograph by Bonita.

She says;

As Native women have added cameras to fiber and clay, they have explored ways to combine a search for personal and public identity. Their work has formed a critique, a different story, that explicitly and implicitly critiques the “vanishing race” genre of romantic photography so popular at the turn of the century and since the 1970s revival of Edward Curtis and other photographers of American Indians. These photographers portray their cultures not as vanishing, but as part of a lively, assertive group of people confident about the importance of their cultures in the past, their importance to the present, and their influence on the future. They sometimes use images identified with Indian cultures, but these images are not used as emblems of a generic unified past. Instead the images carry specific messages or stories about how individual artists interpret family and tribal histories, how they experience the present, or what they project for the future. As women, they may employ signifiers identified with female cultures and tell stories that relate to women’s history, but their photographs may also have messages about gender relations, differences among Indian cultures, or commentary about Indian-Euro-American history. Sometimes there are no Indian signifiers at all except in written messages on the photographs or in captions. These photographers portray Native people with a wide range of physical and attitudinal characteristics. Some works are ironic or humorous, others angry, sophisticated, or reflective.

To read the essay go HERE

What is a photograph? What is photography? Some suggestions

Take your most thrilling photograph ( taken by you or by someone else ) and ask, “Is it……..?”

A way of not looking at the world

A framework for searching

A reminder of meditation, silence and stillness

A record of resonance

A creation of resonance

A vain attempt to be King Canute

Self flagellation

Sensual titillation – between is and is not

An attempt to look at looking

A scratching of the itch to tidy up

A prayer for transcendence

A quest to float in self-less harmony

A search for Self

A way-station in the telling of your story

A blink of death

A way of looking at the world

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A re-presentation of reality

A breath visualized

A stuck moment

A freed moment

A heart beat-en

Infinity squeezed

An eternally searching for the eternal

A frozen exhalation

Lines

Is and is-not holding hands

Rapture ruptured

A metaphor machine

A path to follow – inward

Plato’s cave

Living death or death living

Formalized longing

Memory shadows

Your soul’s timbre

A visual hiccup in the flow of consciousness

An invitation to shift consciousness

If not what is a photograph, what is photography?

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What is photography? “It is preserving of commonly perceived appearance achieved with the use of physical, chemical and mechanical processes, as the result of which we receive a plane covered with color spots, ordered in a certain way. The ordering of these spots causes an illusion of perceiving by a viewer three-dimensional objects in space(…)” - Alfred Ligocki - [translation cited in "Archeologia fotografii" ("Archeology of photography") by Jerzy Lewczynski, Wydawnictwo KROPKA, Wrzesnia 2005, p. 53  (PhotoQuotes)

Nah – it ain’t that………………………………!

Street art celebrated

The Wooster Collective’s celebration of street art is HERE

One I particularly liked is;

 

I always find simplicity and re-contextualization powerful – you can’t get much simpler re-contextualization than ‘Someone’s Supermarket’!

Of course it depends on the eye to see and the heart to feel – and the wit to chuckle!

Abraham Obama by Popoganda artist Ron English

Yet another catch-up for me;

 

Billions of bucks and billions of prayers riding on you BO – no pressure there then!

Wonderful video ;

Ron English’s Popoganda site is HERE

Great interview with his long-suffering kids HERE

Don’t miss his agit-pop billboards HERE

Interesting comments o n Ron English plus resources HERE

Cindy Sherman – doesn’t do men – its harder to get the wigs!

David Hershkovits has published a very interesting interview with CS.  It starts;

 

Cindy Sherman: I printed digitally maybe starting five years ago, but I still was shooting film, and I’d never go back now. Forget it. What I used to do is shoot the film and then I would have to take off the makeup, bring film to the lab and wait two or three hours for it to be developed. Then look at it and if I had to re-shoot it, I’d have to do the makeup all over again.

David Hershkovits: On your wall I see pictures of men.

CS: Those are off the Internet — real portraits that I was inspired by and thinking, ‘If I get it together, I’ll do some men.’ I didn’t get it together for this show, but I still might try something. Why not?

DH: Your work has often been cited by post-feminist critics for its ability to parse the dilemma of the modern woman. Men don’t interest you as much?

CS: I’ve done some. Not that many. It’s just a little harder, is all. It’s harder to get the wigs.

To read the full interview go HERE

 

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For other resources on Cindy Sherman use the search thingy on this site.

Relational art – accidentalism celebrated and contextualized?

I was interested to know that there is such a thing as relational art ;

Happy to Meet You: An Introduction to Relational Art

Relational Art is an emerging movement in art identified by Nicolas Bourriaud, a French philosopher, who recognized a growing number of contemporary artists used performative and interactive techniques that rely on the responses of others: pedestrians, shoppers, browsers—the casual observer-turned-participant. As an art critic, Bourriaud has reviewed many internationally renowned exhibitions and performances. Over the course of writing editorials for the French magazine Documents sur l’Art, Bourriaud came to term what he was seeing—more accurately, experiencing—as a movement in Relational Art. Bringing together his many essays on the subject of these artists and their activities, Nicolas Bourriaud, in 1998, launched his theory and book entitled Relational Aesthetics. While art critics, theoreticians, and historians have argued whether Nicolas Bourriaud was accurate in naming what he was seeing as a new movement—or, even a movement at all—artists have been busy carrying out their relational activities.

via PLACE Program.

The best idea I can get from it so far is that it is ‘accidentalism celebrated and contextualized’ – or something like that.

See TIMELINE

See BBC

See WikiPedia

Major academic site HERE

Masks 1 – via Prof Ron Bennett at Carnegie Mellon

Masks are fascinating.

They are projections;

of what we would like to be

of what we fear

of sides or sub-personalities that inhabit us

They can relieve us temporarily of being who we are.

If you get to join one of Prof Bennett’s classes you could end up making your mark in aluminium.

Click on photo to read original article

Two artists Weathering Art: Roni Horn and Jari Silomaki

Roni Horn has a book about her ongoing project in Iceland

Weather Reports You

 

by Roni Horn

Pub: Steidl & Partners.  Available on Amazon

“Everyone has a story about the weather. This may be the single thing each of us holds in common. And though the weather varies greatly from here to there, it is, ultimately, one weather that we share. Small talk everywhere has occasioned the popular distribution of the weather. Some say talking about the weather is talking about oneself. And with each passing day, the weather increasingly becomes ours, if not us. Weather Reports You is one beginning of a collective self-portrait.” Roni Horn

Over the past two years Roni Horn has been working with a small team in the southwest of Iceland gathering personal testimonies from people talking about the weather. These “weather reports” include descriptions, reflections, memories and stories based on experiences of the weather that range from the matter-of-fact to the marvellous. The different nuances and usages of language suggest that the weather is not just a matter of meteorological conditions but is, in Roni Horn’s words, “a metaphor for the physical, metaphysical, political, social and moral energy of a person and a place”.

A wonderful article HERE

Brilliant set of resources including videos HERE

Jari Silomaki

You might be interested to link Roni Horn’s idea with this Finnish photographer Jari Silomaki

 

Some time ago, when I first saw an exhibition of Silomaki’s work I wrote the following;

Powerful resonance in yoking the subjective eye with the global event

An appreciation of the art of Finnish photographer Jari Silomaki

 The Finnish photographer Jari Silomaki writes on the photographs he shows – in the exhibition I saw he wrote in white ink. He writes about the photograph he took and its context in his life and the fact that it was coincidental with some major event. Several of his arresting photographs can be seen HERE: 

SOURCE

 ‘Since 2001 I have taken a landscape photograph every day. I connect these photographs to important personal and world political events…. The starting point of this work was that world events, personal events and weather will repeat themselves and merge into one continuum……. On the other hand, linking landscape and news concretises how we are in contact with world events through the media. Everything is brought up close, which also means that events that are truly nearby are no longer close.’ 

Jari Silomaki, photographer (Finland)

 For me Silomaki, and this idea, is one of the most exciting finds in many years. The linking of the public events and the choice of a landscape brings powerfully together the subjective and the public.   It’s not only about the cataclysmic such as Kennedy’s assassination or the Twin Towers attack but also anything significant on global news.

Concerning the cataclysmic I remember the Twin Towers collapse because my wife and I were in Ikea having taken an American friend. In the case of Kennedy’s assassination I was in a weight-training club above a green-grocer’s shop where the smell of the potatoes and greens from downstairs was (thankfully) just more powerful than the smell of sweat. I didn’t take those two ‘memory-photographs’, but the Ikea one I could still take, because we all remember where we stood as the sense of horror began to fill in the store.  The green-grocer shop I’m sure is no more.

 One of the interesting elements in Silomaki’s great idea is the sense that you get when you realize that he chose ‘this perspective’h, ‘this angle’, ‘this composition’ as the personal – with the global news circulating in that day’s consciousness. The images become impregnated with the facts both personal and public. They create, for me, an oceanic resonances drawn from time and timelessness and place and placelessness, the subjectively personal and the binding knowledge that comes from global news.  Why because we see what the photographer held to be significant in the ravaging consciounes of the event.  We are seeing his world with his eyes.

In seeing the world with his eyes the question is raised as to the relationship between what he frames in the photograph and the frame created by the writing.   Is that a limiting aesthetic?  Is it limiting because we don’t know more about the web of significances in the photographer’s environment.

Take a look at the BrainForest

Thanks to Elmo at the Hunting Club blog for sharing this breath of delight;

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Go HERE to see some more of the same.

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The site argues that real achievement, success and happiness lie in being fully and positively human -

through justice in our caring our creativity and our criticality –

developed via service to the communities to which we belong.

 

All postings to this site relate to the central model in the PhD. Summaries are HERE

 

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On this site there are 1000+ ideas that you can put to work straight away.

“Use the SEARCH, CATGORIES or INDEX to find the best ideas for you?”

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New media: Speilberg on Seesmic

SEESMIC is a video blogging web application in alpha stage.  If you haven’t discovered SEESMIC its HERE.  A short Wikipedia explanation is HERE

SEE interesting Guardian article here in which Speilberg, Karen Allen and Harrison Ford participate in a SEESMIC conversation – sort of.

 

Ambrose Heron has an interesting film blog HERE