Revelations of the Dream (original) (raw)
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Dreamtime Structure of Inception
An Introduction to the Aspectual Field based on the movie Inception as a cultural object that contains the entire field of anamorphic entities with anagogic affects Abstract: An Introduction to the Dreamtime Aspectual Field which contains the Lacanian sub-field of modalities of desire described by Zizek that are made up of ‘anajective’ folded self-intersecting eventities (ejects) prior to the split between Anagogic (subject) and Anamorphic (object) i.e. at the level of Dasein which are the hinges that prepare for and condition changes in Perspective.
HIJACKED FUTURES X THE ANTI-HIJACKING OF DREAMS
2019
of the anti-hijacking scheme. The first part of this text began by presenting some science fiction films whose theme is the hijacking of human subjectivity, or the intrusion of a system of control within human dreams. Shortly thereafter our society is presented as mediated by the Technocene, which is one of the strong branches of the Anthropocene, and how it promotes the hijacking of the future. It confirms the idea that the excessive extraction of natural resources from within the Earth is concurrent with the extraction of the “spirit” from inside our bodies, and this is leading us to climate disasters and to ontological misery. Afterwards, this text presents a pedagogical equation, in which it defines the onto-political bases that support the text’s propositions, affirming that they are part of the grammar of liberation of the future and of dreams. They are: technoshamanism + ancestor-futurism + network of the unconscious. This is placed before the techno-ideological bases of the society of control, responsible for the hijacking of the future and dreams, that are: technoscience + corporate capitalism + artificial intelligence of God. It’s clear that these equations are in conflict and dispute the network of the unconscious and the future of the Earth. It is suggested that the great ideology of freedom and individuality, promised after the Second World War by the industrial corporations of the allied countries, was a big trap, that culminated in a terrible system of control. Then the text emphasizes the importance of fiction and its capacity to create worlds, taking it out of the constraints of the symbolical and imaginary universe and introducing it to actual concretization. Fiction is then presented as one of the most powerful instruments for the production of reality, just like hyperstition, which is the capacity to create fictions in groups, and materializing them in reality. Here the text returns to the films, claiming that these fictions present the terrorism of the machine, the cornering that the society of control is imposing on the whole world, at the same time as they present innumerable forms of resistance or escape. Based on this idea of fiction as something determining, the text introduces ancestor-futurism and networks of the unconscious, presenting them as metaphysical projects of forced amplification of our ontological bases and restructuring the idea of communicability between the many unconscious, presenting it as a radical operator of ancestralities and futures between humans and the others (who are not humans, but other entities). Here questions related to spectrality enter, parallel universes of signs that pass through language and invisible fields that are inaccessible with this level of petty consciousness, as Davi Kopenawa demonstrates when he says that white people only dream about themselves and their goods and because of this they don’t see anything and think that everything they don’t see is a lie. The final part of the text shows dreams as one of the most powerful portals for the rescue of lost ontologies of the past, as well as the production of freer futures. Departing from various references, the text suggests a methodology of treatment/training of dreams, starting from a relation between art and clinical practice. At that point some work methodologies appear, coming from such practices as the noisecratic programme, derived dreams, dream communities, etc. Each of these leads us to a higher degree of understanding about dreams as an onto-political public space, which must be urgently rescued for there to be a possibility for subjective resistance to the terrorism of the machine, and for the liberation of the future to be strengthened through the anti-hijack scheme of dreams, because the freer the dreams, the more capable they are of generating worlds.
Inception (2010): When we dream, do we accumulate capital?
2015
is making evident, both through form and narrative, his criticism of the sweeping radicalization of cinematic work that has privileged the technological wonder of the movies over formulations of innovative and complex narratives that deal with human existence." Christopher Nolan's Inception is frst and foremost a flm that unveils for the viewer the process of creating cinema as art. 1) Insofar as technological developments have accentuated the phantasmagorical in cinema, as illustrated by the use of digital manipulation in Avatar,Inception, by contrast, concentrates on the role that
On first look the film Inception seems just to deliver a thrilling new illustration of Descartes' dream argument, that it's impossible ever to be sure you're not dreaming. In fact, it can be seen to offer an important challenge to Cartesian skepticism, and to the solipsistic rationalism that Descartes presents as its resolution. According to the vision of this film, the solution to skepticism is not to question everything and accept only what cannot be doubted. Rather, its hero Cobb must learn to turn away from the spinning top that is supposed to ensure he is not dreaming and learn to trust in the reality of other people.
Published in Film and Philosophy, vol 21, 2017, pp. 91-112. Christopher Nolan’s Inception (2010) is a complex saga of corporate espionage, and about implanting ideas in people’s minds. Since the film constructs a complex web of dreamscapes, Freudian theory has become the predominant mode of analysis. While there is much to say about the surrealistic elements in the film, this essay will relate the idea of inception to Louis Althusser’s “symptomatic” critique of ideology, the ideological critique of the Frankfurt School, and the semiological analysis of mythological language in capitalist ideology developed by Roland Barthes. My intent is to highlight the striking parallels between how the protagonist seeks the inception of an idea in his target’s mind and how capitalism incepts its ideology into ours.