And the third of the trilogy. We observe and make intelligent or not-so comments.
Notice the Is
The is of the Thing, that’s where to begin. What are you seeing; what are you being shown and why? Yes, that’s the passive way to suggest the idea. And Know the eye of God, the spirit of Humankind in the thing. And you begin to see. And then you know.
Do you accept?
I accept.
Good. Because there is nothing else.
You have to sustain the wow. You simply must show me the miracle. And he does. There the skeleton, X-Ray and 3-D mapping, the Body, the spinal cord, our brain, your motherfucking brain, you flesh and wiggle. And my God! The infant wiggle.
The Infant Wiggle Scene
Yes, camera pulls out, more supine naked infants wriggling. Many with joy. Whoop, one rolled over.
My God! Do you remember your sons rolling over? Do you remember rocking on hands and knees? The fear, that which holds them there until they burst through it, is the face plant. Do not want to topple over the hands, like going over the handlebars on a bike, and face plant. I watched my sons. I saw the miracle of walking. If I didn’t note in these notebooks, shoot me. I noted it all, described everything. For this there has to be an Amen. No matter your stance – when you see your thing and know your being.
The Olympic Body, the Olympic Effort
Our physical experts; athletic accomplishments. And those bodies. We don’t have bodies like that. Be we have our own bodies.
When are these trite or cliché (the NYSE, digital stock ticker, exchanges and hydroelectric dams)? And when is cliché real? And again, or better, can you see the real in the cliché? Because when you see the real, the thing that is the thing, then you can weave amazing stories for all people.
So, when you watch the electric grid or cars on the highway or stock market frenzy, you can, there we are. This is who we are. Comprehensively. Those expressions on their faces, doing what they actually do in the one time, are insanely real.
From the Real one can create compelling conclusions about who we are, and tell stories in such a way to at least have the listener, reader or viewer think of a specific way of seeing, that is true for at least one person, but in fact hold for any living being whether they think about it or not, or believe it or not. Because there is only one Real. And so from every shot we extract meaning or critique, at least as regard a certain question, or perspective. And so you offer your own interpretation from your own framework. And this true, if actually what you see and actually Real, then it is also true. There are infinite truths. Now imagine that you see them at once. All seeing, every moment or side or eternity. I know what I know when I see your face doing what you do when you’re doing it full bore and not acting. When you are you, I know your universe. I’m not worried about when you hide your You from me. I’m not interested in those moments. I’m interested in the powerful you and the vulnerable you. You, alive, are always only your true being. I know when you’re lying, or playing, and I know when you fear death. Flow being flow, the only we know, then she who understands Moment can see you in your entirety. And this will only be the thing that is the thing. And you agree with it because you know yourself.
You, person, already are your best self.
Knowing this, master your now, master yourself.
Rise for the bar is high. Which story do you want to believe and which story do you hope to manifest? This understanding explains comedy’s importance. And poetry’s. And those tale makers who pierce our hearts. Because we want to know, aim to know, that there are others out there thinking and experiencing exactly what we are. Be brave enough to know your true self. Be brave enough to express your absolute.
The song at 46 is intense. Worth listening to again.
Do consider increased digitization in this, trippy flow shots through computer circuitry. But one could ask is this just throwing stuff at the collage without the effort of the first two films to capture and share magic? I think this then they show me atomic bombs exploding.
Brands fly through the data stream universe. These followed crash test dummies. And not just for cars, these dummies, but airplanes too. To simulate a desperate moment in flight and look at those bodies, those heads, those hands. We should not have the images of New York in our brains, our spirit selves, our good selves. We should not know this Event. And so a culture event becomes psychic, spiritual, cellular. There is no escape from the happening. How you absorb it, heal it, embrace it, reject it, ignore it, fight it, annihilate it, reinvent it, give it a new name, erase by re-calibration – these are superb skills to have as a living person in wack land. So sayeth God, and so brayeth the brand.
Now religious symbols.
Iconic historical symbols. National symbols.
The Burger Bite is incredible. Look at her go!
Dude, this is a Showing. And you know this is true, the thing he is saying.
When you view Humanity Symbols like that, this says something, this is the saying thing, the Humanity Story in symbols. They tell all the stories; they offer all conclusions and one conclusions. You should know what it is. Able to share it clearly.
This is semiotics.
These are Humanity Symbols.
This is anthropological.
Humans are violent.
Humans possess technologies of awesome violence.
We are angry. The animal unleashed.
After violence, the Art Flow. Classic artwork in speed collage.
Faces of Real Suffering.
We’ve lost ourselves.
And yet
Here we are. You found yourself. You found us by becoming yourself. There we are.
Look at the real face. Know beauty and pride, dignity and alive, suffering, anguish and pain; and joy, childhood, comfort, watching your sons being born. And watching them being, and being with them. Recognizing patterns, living the wonder. There it is for you, the one true path. Don’t neglect notice.
Though there is suffering, we must conclude inspiration, we must end with belief. There is only the day and how well can you live it. The divine rest on its own. A Being, not an Event, rather an Essence. There exists the thing. And so you must leave inspired. You must leave them with inspiration. Otherwise there is nothing else for you or anybody.
Those falling air dancers are ridic.
How? Shall one describe absolute wonder?
They are falling from what seems to be 30,000 feet. They dance-fall. Dancing so beautifully that the radical speed of your descent doesn’t matter. The dance is itself against the sky, as if you were weightless. But you’re not weightless, you’re a falling body. This aerial ballet. Na qoy qatsi from the Hopi, Kill many life, a life of killing each other
War as a way of life
Civilized violence.
And the film ends with the dancing free fall. Watch her perfect falling body. There falling a boulder, a ballet meteor. But also there, a parachute. The parachute is hope.
Write a novel called Parachute. What would it be about? I’m not there yet. A parachute. The film ends with a falling human, a fallen angel, a dance during a hopeless moment in the immediate. But the story (much like David Bowie’s death plan, and Uncle Burton’s for that matter wonderfully) is bigger than the moment. Because there is forethought, there is planning and cunning and daring hope, daring brilliance, daring survival while in a freefall. And so dance during a freefall. Dance during your freefall with a parachute. Dance during your freefall with a parachute. I see now, I see what it is you do. It’s not exactly poetry, but it is. It’s seeing, and then expressing this seeing with words in the English language, according to the whim and training of my own peculiar particular mix of subjectivity and objectivity. But I saw that clearly and believe I expressed it expertly: Dance during your freefall with a parachute.
This understanding, borne by this film, offers hope, intelligence, bravery, and harvest. A living human and dancing while living this time.
It’s got dancing while alive
It’s got calculation, intelligence, bravery, and probable survival. Joy while surviving.
And a plan for joy while surviving. And choreography. And art. Art in life, art during your freefall with a parachute. Art and a Parachute. That’s the novel, Art and a Parachute. This being, of course, the Life That Is. And with that life, what do you do. You must have hope and you must inspire.