Projecting the
Dream
By Alexander Lentjes
of 5D Lux
www.5dlux.com
of 5D Lux
www.5dlux.com
14 May 2015
Proposal
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.
www.5dlux.com
51 Sefton Park Road
Bristol, BS7 9AN
United Kingdom
51 Sefton Park Road
Bristol, BS7 9AN
United Kingdom
Tel. +44 1179 441 44
