Friday, 3 July 2015

Visions of Hyperspace, forecourt of Reality, the Gateway of 5-D Cinema and Mental Film Making

Are our visions of Hyperspace happening in the forecourt of our mind and is higher dimensional art a super-conscious perspective view of our Reality?

At 5DLux we engage with the deepest questions of reality, its fabric, the ability to mould and manipulate it and the results of such manipulation, and all through film techniques.  As such we ask very thorough questions and explore higher and lower realms, deeper dimensions and we become honorary citizens of Hyperspace.  After all, to understand the Universe is to understand the mind - as the Universe is mental.  The understanding of the mental universe is of key importance to the ability to shape personal and collective reality through cinema: the very concept of 5-D Film.  So let us investigate the place that is Hyperspace and how to get to it, as reflected in media, culture, philosophy and religion and as found in person through deep meditation. After all, finding the access / exit point that is the singularity is the grand prize - but where exactly does it lead?

Hyperspace in Big Hero 6. The robot touches the human boy, teaching him
about trust, faith, sacrifice and evolution through hyperspace dwelling.

God reaches out to Adam: the creator of our mind, a Universe in and of itself, reaches out by means of projection,
creating a self-image and consciousness in the process.  Creation becomes self-referential.

The artist is an Avatar of the Threshold Guardian, a Trixter agent.  Dancing between chaos and structure, between madness and seriousness, between play and work, between left brain and right brain.  The Monkey King is lost in his own game, does not realize his potential and power or is happy to play and let his true power be for what it is during the game.  Perhaps it is a game of limitation, of self-frustration.  The Monkey King, Loki, Esu.  The 13th month, the 73rd name, part of the game and not, standing with one leg in the physical realm, one in the spirit realm.  Shaman, Bird Man (the Eagle transcends, landing on Earth and roaming the Sky), Rain Maker, Wizard, Me-Sin, Merlin.  The artist tells the story exposing our 12 parts, explaining who we are in all our brightness and darkness and to do this, he must travel the road, journey the wheel, see and live all parts and eventually stand in the center.  The center is a void, totality, potential, no part and all parts of the great story at once. He who can live with this paradox and keep a playful yet focussed mind, will be a great artist, an entertainer, a healer, a world builder and destroyer.  The sand painting that makes up the illusion of stability, harmony and construct must be wiped out to wake us up from the dream and start again.  Because where is the joy in a frozen dance?

Culture is ritual - stories, characters, all representations of our body, mind and soul parts. Ritual serves a purpose - to understand ouselves better, to understand the world, to control oursleves and to control the world around us. Understanding the purpose of the ritual is key, central, vital - not knowing what you are doing or why is not only ineffective, it is potentially dangerous and it will most likely lead to dissolving of culture as more focused, purposeful and understood rituals (cultures) come in.

Trixter: Joker, Esu, Loki, Monkey King, Hanuman, Fool, link between left brain and right brain,
on the crossroads between physical and spirit realm, between work and creativity,
between life and death, beginner and ender of the cyclical game.

Meeting the Trixter - through art, meditation or in a moment of vision - is a moment of coming up for air, a brief moment of sanity, of clarity through the expression of chaos.  The point is that there is no understanding of the self (Who Am I) but the understanding that this is an unknown, that 'one is' and 'one can't be' all at once, and that that is OK. There is no resolution, not end station, no escape or next stage. The appearance of another place is what keeps the whole thing going - us reaching for the next thing, the next level, the way out, the way in, whatever.  I am not saying: abandon all hope, but just to be aware of what that reaching for the next thing is so that you can find the origin of that desire and find the desirer - the core of you / I.  Stepping through the door: Yin checking out Yang.  The door is the first and only gift / investigation by the paradox.  The door isn't and is at the same time, very paradox, because is the door the frame, is it the wall around the frame or is it the hole? And how can there even be an angular frame because an angle cannot be defined, is infinite in itself.  That is the only way it can be. And subsequently, if you want somebody to run circles and never go through a door, you turn the angle into a circle - another infinite shape that had no finite measure.  You cannot escape an egg, a torus, a Moebius circle, by running on its surface.  Only by looking up can you realize you are in a looped space and only by looking down can you see the ground leading to another side.  Not the way out but at least another side.  'Out' is the void space other than the surface you are running on - non-existence in the form of perceived 'space'.

Once you go through the door you have started the journey because you have believed there is a door to go through and there is an other place to go to, an other way of being, another idea and new input.  The Gate of the Sun - that is why there is a Gate at the Lake Titicaca site.  It is a place where the concept was tried out with success and here we are.  A Paradox experiment.
Hanuman as the Trixter, the Monkey King, Son of the Creator and of Man, Self-proclaimed King of Fools,
face of the Great Fractal of Reality.

Behold an image of 'The Self-appointed King'. The crown on the head of the God being the crown of the Fractal.  A self-crowned consciousness but the kingdom is within itself, infinitely deep but by far not infinitely large.  When you look at a typical Hindu image such as Hanuman the monkey king, Trixter extraordinaire, he wears the Fractal as a crown on his head, holds the physical plane in his hand like a toy and wields the sceptre of self-appointed kingship.  A king of his own creation or the lunatic running the asylum with no parents in sight.


So what does hyperspace look like, how has it been depicted by artists and how does that place tie back into our mental space?  After all, we are most interested in cinematic experience - something happening inside the heads of our film audience and ultimately within the conscious experience and reality projection of the individual and collective audience members.

The Domed space in which Zion lies - the human city in the Matrix film trilogy.
Notice the dome as referred to by all those astral traveling out of our 3-Dimensional reality,
the Quadrant layout of the Four Elements (the 12-Zodiac), the central light powering the construct
and the clever reversal of having the dome cracking announcing the invasion of the machine-angels of death
and the inevitable reset of the illusion / reality story.

If all art is an attempt to picture the artist's internal world then picturing the place commonly defined as the Sanctus Sanctorum - the gateway to the Source of all thoughts and projections, the bridge to the higher self, the domed Hall of all potential - then it is indeed incredible relevant.  It is, in that case, the only question.  Do we ask ourselves, however, what we would do, say or ask once we have crossed the bridge, entered the portal, penetrated the veil, traversed the wormhole and conquered the vortex?  The movie series The Matrix puts it well in the meeting of Neo, representative of the One who manages to step out of the construct, Trans-Cosmic Man, with The Architect, The GAOTU, Vishvakarman, Ptah, programmer of the fractal algorithm of our reality:

"The Architect: I am the Architect. I created The Matrix. I've been waiting for you. You have many questions, and although the process has altered your consciousness, you remain irrevocably human. Ergo, some of my answers you will understand, and some of them you will not. Concordantly, while your first question may be the most pertinent, you may or may not realize it is also irrelevant.

Neo: Why am I here?"

GAOTU - The Great Architect of the Universe, AKA Vishvakarman or Ptah

Interestingly, the gateway to the central place, the higher realm and even the other side, is normally depicted and told to be in the Underworld or rather, in the Watery Deep - accessible from the underground.  Its ruler is Osiris, father of Horus (the Son, the One, Adam Kadmon), husband of Earth Mother goddess Isis.  Bifrost, the Rainbow Bridge to Valhalla lies in Hel, the underworld.  In Alice in Wonderland Alice goes down the Rabbit Hole, underground, into the dream realm that appears to mimic real life but in a more archaic way.  Is this a journey to the Higher Self through the subconscious?  Is the access to Heaven to be found in our dreams - in a very specific body and brainwave state?  Yes, it is.

The Triskele - the three circles - is a trinity and vortex symbol found throughout the world, finding its source in the timeless space of the Innerverse and the Mental Plane.

In the movie 'Big Hero 6', as in 'Stargate', '2001: a Space Odyssey', 'Star Wars', 'Star Trek' and 'Interstellar', hyperspace is a wormhole or higher-dimensional space through which one can travel and possibly find higher dimensional-dwelling entities as well.  Truth and purity appear to be defining factors to be found by lower dimensional entities (humans and robots) in these higher dimensions.  The entry point looks different in all these movies, from a ring to a square door to a globe, while the location of this doorway is either on the planet's surface or in space, not so much in the Underworld - unless the regions of Saturn and Jupiter are to be considered Underworld locations (and they can easily be in fact).

2001: a Space Odyssey hyperspace.
Point is, these wormholes are not singularities but more shortcuts through higher-dimensional space, not so much throughways to those actual higher dimensions themselves.  In the case of wormholes, the higher dimensions themselves remain inaccessible.

Current scientific representation of a wormhole.

The most important part of dreaming is the acceptance of the dream world as real and/or forgetting the reference of the framework of the real world around one.  This has nothing to do with the visual detail, realism or any kind of recognition of shapes and characters.  We accept the dream as real in the moment of the dream because a mechanism has been switched off – or on – in our mind to accept the reality presented as 100% real. The same mechanism applies to our waking reality.  As we perceive from within this experience we call reality, we have no reference point, no framework to verify how real this reality of our actually is.  And it doesn’t matter because we accept it as 100% and go on with our lives within that acceptance.  Accepting one’s environment as real has therefore everything to do with removing or activating a mental mechanism.

The only way to confirm the existence of the place across the bridge is to cross the bridge (the gateway, the wormhole, hyperspace) to the other side.  While on the bridge, neither side can be confirmed as being real, while only memory serves to assert the place you just came from was real.  Once crossed, however, only the current side can be confirmed as real again, as the side you came from is now nothing but a memory.  It is the memory of a moment ago that serves as a touchstone of reality and a sense of self.  The bridge, the Corpus Callosum at the center of the brain, then, is the physical starting point to truly work with this reality machine.

Vishnu dreams the great dream: the Lotus Flower of reality, Maya, the Great Illusion, the Mental Construct,
The Matrix, the currently Dualistic Cosmos.  Lying on the great Naga King in the Sea of Infinite Potential.

This depiction of Vishnu, too, is a depiction of Hyperspace, but much more ancient than that of modern film productions.  Film productions refer to this type of imagery gladly, without necessarily implementing its power.  In this Hindu image of our reality bubble, Vishnu is dreaming the great dream, the illusion that is Maya, and it emerges as a Lotus flower connected to an umbilical cord to his navel.  Lying on the sea of pure potential, with Lakshmi by his feet, being more real than the dream, but Vishnu is focused on the dream, enchanted by its kaleidoscopic refracted mirror image. Notice the umbilical cord to Vishnu's navel: the Vishnu Nabhi, the singularity leading back to Source, the Point of Origin, the Central Sun, the Big Bang Omega point outside of Space and Time.

Being a sea of pure potential, anything and everything is possible.  There is no structure or limitation and any sort of laws of physics or dimensions do not apply.  It may not be a place to hang out for a relaxing time (outside of space, time, existence, identity, being, *any*thing) but to operate from this space clearly means any physical or mental application, adjustment or addition is absolutely no issue at all.

So how is this relevant to cinema, to film and television making?  Storytelling IS opening the portal to Hyperspace, film making IS visualizing the dream for the wakeful state. As said, pretty much all films and television programmes produced to day may refer to this type of knowledge and understanding, its depictions and its narrative explanations, but working with and from this higher dimension 99.9% of film makers do not do.  Since you are reading this, you may actually be interested in doing so, so do drop us a line!

The 2001 gateway: the Black Monolith.  Gate of the Sun, symbol of Isis: Ashera of the Rings.
Standing on the Lion, personification of the Tree of Life, gateway to consciousness.

In the Tron movie the other world is an electronic one, no less real for it however, but equally populated with shadow copies of the characters in the 'real' world (containing the electronic world).  The access point is a laser beam (a concentrated light source generated through an EM field) and the way out is through a tower come pyramid structure come stargate / gateway in the outer reaches of the Tron Universe, accessed and operated through the user's identity disc (DNA, memory, consciousness, soul memories, Akashic records).  Tron hints at the existence of other dimensions as previous or future realities or thought experiments of a (flawed) creator.  But progress is possible and new realities are built upon the old mistakes through complete internal destruction, reset or external reboot / reprogramming.

TRON as a creation story and a hint to the way in and out of Creation

Remaining underground, the Matrix movie trilogy introduces a reversal of sorts (or is it?) and puts the dome (Cosmic Egg) of 'reality' labelled 'Zion' deep underground.  It is a bubble of human existence under a world of machine-rebuilt upper ground world - a world that is still underneath a constant cloud cover that the machines cannot get through.  Machine and Man fight in between these two levels and then also engage each other in a virtual reality, adding an extra layer of heaven as a sandbox for engagement and creation.  Within the bubble of the dome, a beam of pure light as per Shiva's column of light within the Cosmos, powers the human city.  This city has the layout of Adocentyn: the Four Gates, 12 sections, the Zodiac, the clock and the calendar.  Saturn, the Time Keeper and Grim Reaper, rules here, for this is the domain of the dying flesh.  Outside, the eternal machines rule as angels (brutal, human-killing and abusing angels) but the machines cannot exist without the humans and so they refrain from destroying them altogether, having turned their backs on their human creators.  To get out of the virtual reality, Neo needs to take the Red Pill - a reference to Alice in Wonderland and DMT-related revelation of reality illusions.  To get out of the bubble of the human reality, Neo needs to take a Merkabah ship out into the machine realm, and to escape this he needs to take the Merkabah above the cloud cover.  However, in order to truly see beyond all these confines, Neo needs to be blind and see with his internal eye to observe and control the pure energy nature of all of the worlds between which he travels.

Sentinels from The Matrix: notice the many tentacles and eyes, the serving
without question of the absolute master to uphold top-down order and
survivalist cyclical existence. Angelic attributes.

A gateway offered by Duality in the form of the Trinity

Duality produces the possibility of the 'other', of the 'new', the child, of evolution, of combination and rejection.  It is no surprise that to live in non-duality is considered to be the greatest good in Buddhist practice, as to be truly non-dual is to jump out of our reality altogether to a place of Oneness.  Duality is the construct on which our reality is based because duality (a binary system of 1 and 0, of black and white) enables possibility versus non-possibility.  How can a point exist if non-existence isn't there to contain it - within the same dimensional space, that is?  A particle needs a vacuum to be in, even if that vacuum cannot be defined in terms of the particle - and nor can the particle be defined in terms of the vacuum.  Still, the two polarities co-exist and allow each other to be.  These two opposing or complementing forces, then, allow for the creation of a Third option by combining their aspects.  The Mental Plane is projected as a third level and Mentalism becomes possible: The All is Mind, the Universe is Mental (Hermes Trismegistus).  The great illusion as a dream, taking the shape of a Lotus flower springing from the navel of the Great Dreamer (Vishnu).  Those are just names - the dreamer eventually turns out to be you yourself.  You are the observer and the observed, the dreamer become the dream, the projector looking at its projection.
Mystery schools talk about three Suns, three lights, two pillars and a central staircase up to the Dove of consciousness, all observed by the great Eye.  That is Duality creating the opportunity of a third, and also the opportunity to observe and exist from outside of the two possibilities, well above and beyond it.  To be above the polarity, not to swing with the pendulum, not to be dragged along by the swirling vortex that appears to offer no alternatives - but to be in the calm of the center of the storm.

The Rebis as a representation of the Third Light: the physical and the mental light producing the spiritual light:
Super-consciousness.  Awareness of one's duality, of one's polarity, awakened to the combined power
and the higher potential result of both sides of the paradoxical alchemical marriage.

When we extend the concept of the Third Way as super-consciousness, above the system, from 2+1 to 3+1 and 4+1 it becomes clear all these different meditation systems and ways to describe reality are pointing in the very same direction.  The way out of the swirl, seeing the forest for the trees, find a little piece of heavenly rest in the madness of the eternal Game.  And a way to control the game rather than being a blind player in it - a pawn of duality.

The Third way extended to the Fourth Way and the Fifth Element.  Also, a hint by Michelangelo about projection
and reality creation and where that Third Eye may be located physically, if not the focal point of consciousness itself.

Realizing the totality of the self (Atman) and the completeness within and without ourselves is taking a step into the center of the circle, of the projected sphere or Egg around us.  The center of the storm - the Eye of the Storm, the singularity of the vortex.  Stepping behind / out of the observation and then the observer himself and finding out a selfless, boundless, non-dual non-local core.  Is that the way 'out'?  Is non-existence, non-identity the place to go?  It is a realization that will allow for complete acceptance, power over the self and your direct environment and then also a shaping of reality with the greatest ease and comfort.  And that realization can be presented through film to an eager audience.
The Great Cycle in Man: from Conscious to Super-Conscious, to Unconscious and Sub-Conscious.
From wakefulness during the day to unawareness during the night, both literally and symbolically.
Also: the tentative link between AIO as a name of God and Man - is the aware human like a God
and/or does he or she project a God as a thought form to become a real energetic super entity?
Man (human) IS the Creator and the Creation all at once.  Observation is creation, the Cosmic Egg forms around our perception.  The boundary of our Universe is the edge of our Higher Self, our soul.  Maybe we are a brain in a jar in a cruel lab or maybe we are wearing a VR helment and we can't find the OFF switch - or perhaps we are a holographic echo of a Universe once real, now swallowed hole but a singularity at the end of time.  For now, though, we will just keep it at being in a Cosmic Egg of our own expanded consciousness in a Sea of infinite potential.  All roughly the same thing, in the end.

Man as the Cosmos Vortex, as Time and Space itself in ultimate Correspondence but also in Pandeic reality:
Consciousness as the One and only experience. In Hindu / Vedic terms: the mind of Vishnu (the Illusion, the Dream)
as the body of Shiva (The Cosmic Consciousness), as the playground of Krishna (Conscious lifeforms
within the Cosmos on the physical plane)
All is vortex, all is inward and outward spin. At the center a singularity point, a point of realization, consciousness, awareness, now, the center of time (and space).  Observe the hints all around you - more often than not right in your face.  It is pure simplicity in the form of ultimate complexity - how Paradox.  Perhaps the door is the frame around it, perhaps it is the hole in the center, but most likely it is the realization there is a door rather than just a random set of meaningless factors.
The Singularity and the Cosmic Egg
How do you like your Cosmic Eggs in the morning?  I like mine with a Spiderwoman's kiss.  What's with the vortex and the two balloons?  A clever little trick illustrates the game's construct:

A fun little vortex game...

Let's make some 5-D films now.

Thursday, 14 May 2015

Projecting the Dream: a physical-mental projection system development proposal

Projecting the Dream

 By Alexander Lentjes
of 5D Lux

14 May 2015


We propose the practical development of a cinematic presentation system that goes far beyond the current technical abilities of projection technologies.  This is to be a multi-level system of entertainment and audience interaction, indistinguishable from the wakeful, conscious dream experience.

Application is to be within a wide range of large audience cinematic audiences, smaller scale special venue and event presentation and personal home enjoyment.

The ideas and techniques employed will lie on the crossroads of Einstein, Bohr, Jung, Plato, Gurdjieff, Goethe, Eisenstein, Hitchcock, Shakespeare and Sophocles.  The results will be a next generation of entertainment creating a next level of application potential.

Multi-level presentation

We start with the known and turn that up to its maximum level for physical sensory overload.  Working with the highest possible resolutions, quality and detail to convince the senses of the image presented being real.  This is the starting point.

After introduction of sensory overload we move on to neurological, elementary atomic and quantum vibrational applications of communication. Beyond simple suspension of disbelief we remove the referencing visual and cognitive framework and eventually bring the audience into a dream state where all presented imagery is accepted as being a reality by the audience.  Working with the resonance frequencies of the elements themselves we can affect the very being of the audience instantly.  By presenting information on a quantum level we can then go even further and affect the make-up behind the atomic reality of the audience with instant effects of controlled intensity, effectiveness and duration.

Content-wise, we operate in the mental arena.  Working with psychological factors to go for deepest level acceptance with the audience.  Working with present, past and future.  Not just a passive sensory acceptance of the presented content but an active mental interaction with the story and image, blurring the lines of sensory input, memory, dream and current reality.  Ultimately for the ability to go beyond mere entertainment and to move, change, deeply awaken, complete and to fulfil the audience.

Needed now

What is needed right now is seed funding for research & development of large screen and large scale cinematic implementation of the knowledge and concepts.  Profound practical research will perfect this new art form so that the audience can be affected as efficiently and as quickly as possible.  Practical test setups will unleash the unbound potential of these technologies and refine their use.  A most efficient way of doing this research and development is to go into pilot production on a special film or audio-visual meta-experience.

The research will lead to a package of the technology itself, a service to be offered to media producers globally, the potential to produce a first global film and more local interactive theatre production, an implementation in television production in short form, long form and series.  

Resulting will also be the ability to design and produce personal and public media technology.  Special devices and media to play on the devices or on existing screen devices.   All with plenty of merchandising tie-ins and product ranges.

Three ways of perception

There are three ways of perceiving, of getting multi-sensory input.  Maximizing all three is the key to creating an experience beyond reality.  The physical way – pure sensory overload. The way of sensory deprivation – pure internal creation and reception.  Controlled sensory deprivation – a guided unlimited internal experience.
Sensory deprivation.  The reverse concept of sensory overload: reverse magic.  Closed eye cinema for unlimited, true 360-degree vision.  Stimulating the sensory systems whilst keeping them in the dark – eyes closed.  

By controlling the stimulation the inner vision can be controlled.  So this is a combination technique, not just a free roaming of the mind, but an application of total inner vision to tell a narrative story involving the audience completely and totally.

Dreams and Reality

The most important part of dreaming is the acceptance of the dream world as real and/or forgetting the reference of the framework of the real world around one.  This has nothing to do with the visual detail, realism or any kind of recognition of shapes and characters.  We accept the dream as real in the moment of the dream because a mechanism has been switched off – or on – in our mind to accept the reality presented as 100% real.  

The same mechanism applies to our waking reality.  As we perceive from within this experience we call reality, we have no reference point, no framework to verify how real this reality of our actually is.  And it doesn’t matter because we accept it as 100% and go on with our lives within that acceptance.  Accepting one’s environment as real has therefore everything to do with removing or activating a mental mechanism.
The only way to confirm the existence of the place across the bridge is to cross the bridge to the other side.  While on the bridge, neither side can be confirmed as being real, while only memory serves to assert the place you just came from was real.  Once crossed, however, only the current side can be confirmed as real again, as the side you came from is now nothing but a memory.  It is the memory of a moment ago that serves as a touchstone of reality and a sense of self.  The bridge, the perineum at the center of the brain, then, is the physical starting point to truly work with this reality machine.

Ultra-reality and Novelty

Evolution is the search for novelty, a refinement of bigger, broader concepts into finer and more intricate detail.  A discovery of more and more detailed aspects of the infinite Cosmic potential.  Human culture has always sought novelty in the shape of invention and new ways to tell the story of Life within the Universe and being human on planet Earth as a specific part of the conscious Cosmic experience.
Technical novelty is old news very quickly, especially in a time of exponential technological development and refinement.  Yesterday’s 4K UltraHD revolution is today’s 8K reality and tomorrow this will be surpassed by eye resolving resolution and direct visual cortex input.  Ultra real image today is artificial and clumsy tomorrow, until the moment reality itself is projected or until the moment the dream world is made a visible, touchable reality.  

One can project all Electro-Magnetic information bands from the visible spectrum to multi-spectral bands, to sound, subtle magnetic information and well beyond, to truly record and play back an impression of reality.  The brain of the audience can be influenced and activated in specific perception-processing and generating areas to blur the lines between fiction and reality, between the projected dream and perceived wakeful state.  And one can work with deeper physiological and psychological perception and processing within the audience to evoke realities beyond a dream state.  At that point in time, entertainment becomes reality and this reality is a malleable fantasy.

Current mainstream limitations

In terms of projection, removal of the frame of reference, the suspension of disbelief and the removal of visual memory needs to be done using vision-filling screen techniques.

Ideal presentation would be room-filling holography.  True holography, however, requires a bandwidth of 40,000 times that of current HD bandwidth for presentation on a 26inch screen.  As you can imagine, this means that even with Moore’s Law in uninhibited action, true large screen holography is still not going to be a reality until at least 20 years from now.  Note also the need for a screen to project onto, as mid-air projection is not currently possible or technically on the radar or even a concept or faint possibility.  The internal visual facilities of the audience do need to be addressed to create true boundary-less immersive presentation.

What is optimistically called Holography by Microsoft is the combination of 360-degree VR vision with see-through glasses.  The 360-degree VR vision is also well known from the modern example of the Oculus Rift.  For projection onto a screen, without the need for glasses, 360-degree vision vision can be projected in all directions in the shape of a wrap-around and/or dome screen – like the planetarium screens.  Dome screens can most definitely start affecting the audience on a level deeper than regular flat screen projection can because of their removal of frame and edge. 

Another unique, effective element of dome projection can be a lying position of the audience.  Combined with the twilight mesopic state of the visual system (a combination of photopic vision and scotopic vision in low but not quite dark lighting situations), as created in all cinema experiences, deep relaxation as a physical state is never far away.  This can help tremendously in the change of brain wave state of the audience to activate and effectuate a variation of mental states.

Cameras and Computer Animation

In simple terms of technical realism of the image itself, the choices are to either use live-action (real world video), 3D computer animation (CGI) or a combination of both.  A total approach combining all current and near-future methods of image acquisition will result in a new cross-over format of real world reality levels in a 3-Dimensional, freely traversable world.  This new format does not currently exist outside of digital vision research facilities and certainly not on the large, immersive scale proposed here.

In a traditional current technology sense, an ultra-bright image with real world light levels, which is not experienced in regular cinema or television watching, can be achieved through laser projection or ultra bright LED screen technology.  With such bright imagery, the eyes of the observer will be tempted to assume real world imagery is being observed.

Ultra sharp, very high resolution imagery with real world detail can be presented through projection or LED screen display of 4K to 8K Ultra HD material.

Very high framerates of 144-1152 frames per second in recording, rendering and in projection and display will allow for natural, smooth image movement that is indistinguishable from the real world.
Colour representation at the edge of human eye colour resolve and perception ability can be achieved through High Dynamic Range colour presentation.  This means production and presentation of content in trillions rather than in mere millions of colours.

3-Dimensional imagery with and without 3-D glasses will allow for an incredible sense of reality and immersion.  Glassless 3-D presentation is possible when a multi-viewpoint screen is used.  This will allow for 180-degree 3-D without the need for 3-D glasses. 

Narrative content

Content and subject matter are vital elements in the question of how far away into a living dream the audience can be carried, beyond mere cinematic suspension of disbelief and emotional state change.
Current media focuses mainly on content aimed at shaping emotion and primal (reptilian brain) reaction.  Emotion and primal reactions are effective targets when very limited effect is the aim but we propose to go many steps further and deeper than this simple method of audience interaction.

The most effective part of the cinematic experience for the means of change in the audience is the narrative, the story itself.  Story serving visual technique is an empty shell, a hollow crown.  We know this from visual-effects-driven Hollywood blockbusters that leave the same sense of fulfillment with the audience as a meal at a cheap fast food restaurant.  Fully integrated story, however, has the potential to shape reality in a way that our ancient forefathers were very well aware of.  The Shakespears and Sophocleses of this world effectuated more than just ticket sales.  They have shaped the memories and realities of their audiences for centuries and millennia of enjoyment.  The story of the Universe, of the World and ultimately of Man is the story we need to hear.  In it we find the pieces that are missing or disharmonious in our lives.  As such, this story will never fade away and its power remains undiminished, as a true echo of the Big Bang itself.

Atomic frequencies

All elements have their unique resonance frequencies.  Presently, most people work with these frequencies already on a very limited scale  and in very convoluted and diluted ways.  We propose a direct working with all the relevant frequencies  through film techniques and through physical audience interaction (chairs, floor, light fittings etc.) for ultimately effective and fast physical state change.
Brainwave frequencies.  Brain state inducing frequencies.

Total vision

Up until today the approach of film presentation has been one of a mimicking of single-point perspective, from the principle of the human eye as a simple camera and the two eyes being a combination of two simple cameras.  To enable a looking around, VR headsets provide wrap-around single 2D or double 3D camera image representation.  4D theatres add moving chairs, water sprays, buzzing, poking and smell.  This one-tier single concept approach has, however, not produced a sense of true reality with the audience.
Audience experience of film is currently shaped by means of evocation of emotions and manipulation through narrative story structure and a physical state of light hypnosis brought on by light cinema theatre levels and specific film projection framerates.  Although effective, this combination of film presentation techniques is still not adequate to allow for experience of reality or a true, permanent change of perspective, let alone a change in physical and mental state and health.  

The real Virtual Reality experience has not yet been exhibited.  We know why this is.  Real life interaction with humans and environment is more than the sum of sensory input parts.  Everything in the real world generates an electro-magnetic field of information and employs a quantum mechanical level of communication.  When these levels of information and interaction are recorded and played back again, we get closer to a sense of recorded and re-experienced reality.  We see and feel the content on screen, we sense its proximity, we interact physically and mentally with the information present beyond mere emotional and primal reptilian impulse.

The electro-magnetic field of information surrounding and penetrating all particles and energy in the Universe has very specific signatures on planet Earth.  These signatures are of course based on a combination of energy signatures of the Earth itself, from which our matter is formed, and in a bigger arena from the polarity of the Solar emissions and Cosmic radiation stemming from our Galactic Core.  The Earth’s resonant frequency ranges, from ground to upper atmosphere, and its electro-magnetic field interplay with all matter of Earth and carry our experiences within them.  This principle is called the morphogenic or the harmonic field and one of its results is shared human and shared nature consciousness.  The facility in the brain to pick up this level of information has been identified as micro-tubulars in the nerves, operating on an ultimately fine level of information reception and emission.

This morphogenic field and its shared consciousness function can be employed to incredibly powerful extend in film – and not just to entertain the audience.  When you start to think of the implications of the workings of the morphogenic field, the potential becomes clear.  An experience of connectedness, of belonging and of Oneness can be evoked far beyond what media has been able to do so far.  Vision can now go beyond single point perspective and offer all-point perspective.  Seeing not with two but with a trillion eyes.
Thoughts can be presented and the audience’s own.  Limits to communication will be a faint memory of the past.

Projecting a New Reality

One can go beyond a projected reconstruction of reality and choose to deconstruct it.  Once deconstructed, reality can be re-assembled to become anything you want it to be.  That may sound both very obvious and ungraspable at the same time but only when presented with the New can the Old be banished.  New visions, new stories, new versions of ourselves and our world are the entertainment of tomorrow, within our reach now.  The eternal fractal of renewal and refinement leads to a singularity of infinite possibilities, yet this Omega point is always just out of reach.  The fractal keeps subdividing with an endlessly folding golden ratio to keep us reaching for the unreachable point.  This eternal process turns us into the Servants of Beauty and communicators of Love.

Reality creation through visual storytelling

Our proposed system of media presentation be it film, television, theatre or otherwise, enables the transmission of physical, mental and spiritual states to the observer.  The system goes as far as interacting with the observer on the deepest possible physiological, psychological and soul level, projecting information beyond the mere audio-visual and causing change on a level of reality creation.
Plato stated that our experience of the world is one of a mere shadow representation of a higher reality we never get to observe.  Man is bound in a cave, observing only the shadows of objects as illuminated by a fire behind them.

Freud and Jung were referring to this very proto reality of truth in unshaped potential when they drew up their theories of access to the ‘true self’ through the dark cave underneath the surface of the conscious (Super-ego), deep into the sub-conscious (Ego) and up the ladder into the super-conscious (Id).  Schooled in Kabala and very knowledgeable in the principles of Yoga, Veda and the mystery schools of Persia and China, Freud and Jung were not simply referring to unprocessed brain activity and emotional states.  They were referring to the same principles that Einstein, Heisenberg and Planck referred to when they formulated their theories of relativity (the relative experience of light as mass), chaos theory (the experience of structure in chaos and chaos in structure) and quantum mechanics (the relative shaping of light through observation).

Dreams offer us a glimpse at a version closer to this proto-reality. The proto-reality itself is not in our physical world as it exists within the unobserved light in the shape of unlimited potential.   The observation of the potential shapes our physical world and so what Plato was apparently really saying is that it is that the light of the fire in the cave shines onto the thought of Man, resulting in a shadow of his thought on the wall of the cave, observed as if being reality by Man.  

As stated by Euclid and Pythagoras, reality is projected through our eyes.  The fire shines behind the eyes, inside Man, onto his thoughts, projecting the shadows of his thoughts through the lenses in his eyes, only to be interpreted as observed reality.  So what if we changed the thoughts casting the shadows to project a different reality?  And what if we looked back into the projector at the light source itself?  This is what our proposed cinematic projection system does.

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