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Co-Founder Shoeless Foot Productions | influences read Carl jung and Stanley Kubrick

Ireland
Joined April 2009
Photo by Wills Duffy (@liamooo)Photo by Wills Duffy (@liamooo)
Motion poster for Stanley Kubrick's 2001: A SPACE ODYSSEY (1968).
Legendary Japanese filmmaker AKIRA KUROSAWA with some great advice for writers everywhere.
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😂
Ten million people have watched a comedian accidentally destroy the entire TED talk industry. He filmed the talk once at TEDxNewYork in 2014 and openly admitted he had nothing to say. Speaking coaches charge $5,000 to teach the exact tricks he used in 6 minutes to say nothing at all. His name is Will Stephen. He is a comedian from Late Night with Seth Meyers who was invited to give a real TED talk and used it to prove the format is a costume anyone can wear. Every TED speaker opens with a question, tells a personal story, cites a scientist, and shows a chart. Stephen did all four in six minutes with zero content. His entire formula fits on a napkin. Gesture with both hands. Ask the audience a question anyone can answer. Tell a mildly embarrassing story so they say aww. Point to a stranger on a slide and call them important. Flash a chart of random numbers. Wear glasses with no lenses. The audience will think you are brilliant. That last trick alone has probably cost the public speaking coaching industry a hundred million dollars in sessions clients should have skipped. "If you watched me on YouTube with the sound off, you would think I was a genius." That is Will Stephen on the TED stage, three minutes into the talk he was paid to give. He wasn't lying. Executives pay $15,000 for a keynote coach and still open with a joke the room never laughs at. Founders rehearse their pitch for weeks and still sound like Stephen at minute four, saying "wagga wah, gabba gabba" with authority. The talk is free on YouTube. The method is written across every TED speaker's playbook for ten years. Stephen still writes for Seth Meyers. Almost none of the ten million viewers have stopped nodding at empty slides since. The formula is free. The willingness to actually say something before your next keynote, pitch, or townhall is the entire edge.
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Eddie Van Halen Played the Electric Guitar in thriller.
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Here they come 🏴󠁧󠁢󠁳󠁣󠁴󠁿
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Happy Halloween 🎃 Thriller by Michael Jackson 👑🕊️
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After his kids (Christian Slater, David Spade, Melanie Hutsell) get caught egging houses on Halloween, a father (Phil Hartman) hires Matt Foley (Chris Farley) to tell them the scary story of how he ended up living in a van down by the river. SNL season 19, 1993.
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Y para cerrar el mes, hoy está de cumpleaños nuestro batero favorito, LAWRENCE JOSEPH MULLEN JR., el mismísimo Larry (31/10/1961)!!! 🎂🎉🥁🥂 📼 AI @stefanobel #U2 #LarryMullenJr #HappyBirthdayLarry
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We'll probably never see anything quite like this again in our history… The best music video ever made, ahead of its time. If you have a few minutes, check it out. You won't regret it. Michael Jackson - Thriller (1983)
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Did Stanley Kubrick use Ron Howard’s Far and Away (1992) as a source of inspiration for Eyes Wide Shut? The casting of Thomas Gibson alongside Tom Cruise and Nicole Kidman may be more significant than it first appears. In Far and Away, Gibson plays the man competing with Cruise for Kidman’s affection. In Eyes Wide Shut, their roles may be symbolically reversed. Could the Nathanson apartment scene represent an alternative ending to Far and Away, reflecting Alice’s fantasy of choosing another man over Bill? The connections go much further, involving dialogue, scenes, character relationships, and recurring themes of submission to powerful men. A closer look at a potentially overlooked cinematic connection. Here's the article: teapawt.org/PeterValente12/status/… #StanleyKubrick #EyesWideShut #RonHoward #FarandAway #ThomasGibson #thepictureofSK thepictureofsk.com
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DEPECHE MODE 101 A Concert for The Masses Live Rose Bowl, Pasadena 18/06/1988. #DepecheMode #80s #USA #DavidGahan #MartinGore #AlanWilder #AndrewFletcher
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AC/DC abre el Monsters of Rock de Donington en 1991 con “Thunderstruck” y el concierto se convierte en una de las imágenes más claras de su legado. Angus Young entra con el riff de siempre, caminando en el sitio mientras toca. Chris Slade golpea la batería con esa energía que define a la banda. El público responde al instante…. Brian Johnson sale corriendo y grita “Thunder”. Es el estilo que AC/DC lleva décadas sosteniendo: riffs simples, ritmo que no se detiene y una presencia en el escenario que no necesita adornos. En Donington, ante una multitud enorme, suena igual de directo que en un disco. El legado de la banda está en esa consistencia. Décadas de la misma fórmula, la misma intensidad y la misma capacidad de convertir un concierto en una fiesta. “Thunderstruck” no es solo un tema de apertura. Es la prueba de que el hard rock de AC/DC sigue funcionando cuando se toca en vivo, sin filtros y con la misma fuerza que en los 80. En Donington 1991 se ve por qué AC/DC sigue siendo referencia: No cambian el sonido para el escenario, pese a que el escenario esté con más de 75mil personas… El legado de la banda y el concierto quedan en el mismo lugar. ¿Eres un fan de AC/DC o al menos alguien que lo mantiene en sus listas de música? ¡Thunder! ⚡️🎶⚡️🎶⚡️🎶
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Don’t you think every frame of Barry Lyndon (1975) looks like a painting? Adapted from William Makepeace Thackeray’s novel The Luck of Barry Lyndon, the film is renowned for its painterly visual style. Many scenes are composed with lighting, colors, and framing reminiscent of 18th-century European portraits and landscapes. To recreate the look of the period, Stanley Kubrick and cinematographer John Alcott used natural light for many daytime scenes and real candlelight for nighttime interiors. Remarkably, the crew adapted Zeiss f/0.7 lenses originally developed for NASA’s Apollo program, allowing them to film scenes lit only by candlelight without adding direct electric lighting.
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【伝説のコンサート】 『𝖳𝗁𝖾 𝖡𝖾𝖺𝗍𝗅𝖾𝗌 𝖫𝗂𝗏𝖾 𝖠𝗍 𝖳𝗁𝖾 𝖶𝖺𝗌𝗁𝗂𝗇𝗀𝗍𝗈𝗇 𝖢𝗈𝗅𝗂𝗌𝖾𝗎𝗆』 𝟏𝟗𝟔𝟒年𝟐月𝟏𝟏日、ビートルズ初のアメリカ公演。ワシントン・コロシアムでの歴史的ライヴのHQフル動画(𝟑𝟖分) 𝟖𝟎𝟎𝟎人の観衆を熱狂させたロックンロール・ショウ 𝒔𝒆𝒕𝒍𝒊𝒔𝒕: 2:16 𝗥𝗼𝗹𝗹 𝗢𝘃𝗲𝗿 𝗕𝗲𝗲𝘁𝗵𝗼𝘃𝗲𝗻 4:43 𝗙𝗿𝗼𝗺 𝗠𝗲 𝘁𝗼 𝗬𝗼𝘂 7:28 𝗜 𝗦𝗮𝘄 𝗛𝗲𝗿 𝗦𝘁𝗮𝗻𝗱𝗶𝗻𝗴 𝗧𝗵𝗲𝗿𝗲 10:52 𝗧𝗵𝗶𝘀 𝗕𝗼𝘆 13:43 𝗔𝗹𝗹 𝗠𝘆 𝗟𝗼𝘃𝗶𝗻𝗴 16:36 𝗜 𝗪𝗮𝗻𝗻𝗮 𝗕𝗲 𝗬𝗼𝘂𝗿 𝗠𝗮𝗻 19:44 𝗣𝗹𝗲𝗮𝘀𝗲 𝗣𝗹𝗲𝗮𝘀𝗲 𝗠𝗲 22:09 𝗧𝗶𝗹𝗹 𝗧𝗵𝗲𝗿𝗲 𝗪𝗮𝘀 𝗬𝗼𝘂 24:19 𝗦𝗵𝗲 𝗟𝗼𝘃𝗲𝘀 𝗬𝗼𝘂 28:04 𝗜 𝗪𝗮𝗻𝘁 𝘁𝗼 𝗛𝗼𝗹𝗱 𝗬𝗼𝘂𝗿 𝗛𝗮𝗻𝗱(抱きしめたい) 31:30 𝗧𝘄𝗶𝘀𝘁 𝗮𝗻𝗱 𝗦𝗵𝗼𝘂𝘁 35:10 𝗟𝗼𝗻𝗴 𝗧𝗮𝗹𝗹 𝗦𝗮𝗹𝗹𝘆
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this is how you manifest btw
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One of Steiner’s recommended exercises is remembering your day, a movie, play, song, (or dream) backwards. Steiner said (in the screenshot below) that remembering events in reverse helps the soul/spirit “break from the physical & etheric elements.” How so? Because the physical is a projection of the etheric plane, and the etheric (currently) codes for physics & linear time. By incarnating into physical/etheric bodies we get conditioned by, and thus attached to, its programmed limitations. We internalize that programming, which fetters the mind/soul/spirit. To break this entanglement with physical & etheric programming, we must undo the internalization of forward linear time. Remembering in reverse is one way. That tackles the temporal aspect. The spatial/material aspect, Steiner tackled via exercises involving “sense-free” thinking. One such exercise entails imagining & contemplating something that isn’t simply a product of the senses. For instance, a meaningful symbol (rosy cross if following the Rosicrucian tradition), an archetypal plant (like per Goethe), or an inspiring metaphysical thought (as written in scriptures or other enlightened texts). It’s something chosen & immersed in freely during meditation, and it exercises higher parts of your being. The goal is to break your internal life free from the external, and ultimately to hitch it to prime mover of spirit/divinity. Only in this way is freewill truly engaged. That was the core point in Steiner’s first book, “The Philosophy of Freedom.” Thus develops a second “I” within, which is actually the primary “I” or the true Self, as opposed to the human ego-mind conditioned by spacetime & physics that people mistakenly take to be primary. Then the external can be observed & dealt with from the higher spiritual fulcrum that “moves the world” instead of the inverse where the world moves & controls us. Self-empowerment is fundamentally about increasing volition, and the source of volition is spirit.
Etheric plane must be the physics simulator. If you have mastery over it, you can bend the laws of physics, but you're still within the simulation. Astral plane is beyond linear time, associated with soul / emotion / symbolism / afterlife... astral might be the cosmic Mind field.
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BOOK LAUNCH: Speaking of Jung returns this week when we welcome back Jungian psychoanalyst Leslie Stein to discuss the third and final novel in his trilogy exploring the journey of what is required to be individuated, finally complete, whole, one’s own person. Character: A Novel drops October 28th from Chiron Publications. Speaking of Jung’s Patreon members will receive early, ad-free access on October 28th. Full release on October 29th.
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CARL JUNG'S METHOD FOR MAKING WISHES COME TRUE. It Works Even For Skeptics. Practice It For 10 Days, And Something Strange Begins To Happen: THREAD🧵
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“In an unpublished, original typescript held in the Kristine Mann Library in New York, the Indologist Heinrich Zimmer recounts meeting Jung at the Zurich Club in 1932 and asking him about the Self: ‘(I) asked him naively what was his opinion about the Hindu idea of the transcendental Self, indwelling man, underlying his conscious personality as well as the vast depth of the unconscious including the archetypes. But he, without as much as disclosing his lips, while from the bottle in his right hand he poured the gin, with the forefinger of his left, persistently pointed to the rising level of the liquid in the glass, until I hastily said ‘stop, stop, thank you.’ That was the gentle and inspiring way of the Zen-master to make me say ‘stop stop’ to my own talking. It implied this advice to come down from the lofty level of my question to more earthbound facts and enjoyment, to approach the soaring speculative flight to transcendental spheres which can’t be reached by mere words of abstract conceptions.’ The Self, no matter what explanation is offered or what nuance of expression is used, is an indescribable concept. What indeed is a center in our being? It cannot be brought to ground as it does not rest on a logical bedrock that there must be a center point in psyche. As well, its importance does not present to the world-at-large as a shared, agreed truth, and it does not evoke any direct Western comparisons. It has no relationship to science and has, in fact, been called a ‘scientific obscenity.’¹ The Self stands apart from culture, does not draw meaning from historical or current events, and is not reliably informed yet by neuroscience, but only by Eastern religion and Western esoterica. It cannot, in the end, be perfectly communicated, and any explanation will always fall short of what it might be. Finding the true, clear meaning will, accordingly, fail; it will necessarily always be opaque. The Self, as Jung admits, is ‘a construct that serves to express an unknowable essence which we cannot grasp as such, since by definition it transcends our powers of comprehension.’”² 1. Allport 1955, p. 37 2. CW 7, § 399 ~Leslie Stein, Jungian psychoanalyst, “Approaching the Self,” The Self in Jungian Psychology: Theory and Clinical Practice, pp. 9–10 Returning later this week to Speaking of Jung: Interviews with Jungian Analysts
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“A sense of wholeness that is the Self is experienced by all of us from time to time. It is elusive because the mind is unaware of it, other than as a passing phenomenon. It is experienced, on occasion, by a prayer to God seeking unity or some resolution of a conflict. Thus, there are intimations of wholeness, moments of peace, glimpses of the workings of some mystery. All of this takes place in the confusing depths of the psyche and arises only to be displaced by more immediate issues. Jung proposes that in the second half of life many of these conflicts that constitute the stuff of day-to-day cease to have primacy and the intimations of wholeness arise with more frequency and more profoundly.⁵⁹ It could be when they arise in the second half of life that they are not acknowledged and remain unconscious. On the other hand, some disappointment, some illness, brings a person to the point of wanting to cleave toward wholeness and away from the problems. This is a journey that takes many forms—analysis, religious re-orientation, or some action that is a moving away from what came before. The sense of wholeness that precipitates the movement toward exploration is the Anthropos Quaternio, which is a priori and seeks self-reflection, but is initially unconscious. The first step in the process of change is to establish what has been in charge. This leads into the Shadow. The Shadow Quaternio exists because there is a negative side to all that appeared possible in the intimations of wholeness. Touching that Shadow produces the first suggestion of consciousness. When these Shadow contents arise, there is an expansion of the sense of wholeness as the person becomes aware of the power of the unconscious. This leads to the sense of being part of an undertaking that brings one closer to the sense of wholeness. This is the albedo stage or the Paradise Quaternio. Here there is a state of innocence brought about by understanding as in the Garden of Eden before the fall. The four rivers of Paradise are the energy flow that suffuses the new sense of wholeness and there are hints that there are secrets or a mystery that is to be found. It would seem that the albedo is a resting place for most, even as it is strengthened by more intimations from the unconscious. As the sense of wholeness increases, there is also an increasing sense of oneself and the resolution of opposites that have hitherto been below the surface. The stronger that sense, the more the mystery of the process becomes apparent and the greater the subtlety in which the world is observed. No longer is one entirely ruled by the instincts and the Shadow but the sense of wholeness moves to the foreground. At this point, perhaps in the thrall of the mystery, a connection is made to that which is outside oneself. This movement is between the albedo state and an interest in that which is outside the psyche. This is the serpent in the equation that is the mediator between worlds— that which is subjective and that which is material. The passage from the albedo to the material world is not direct but is a process that is repeated and becomes continually more expansive, thus requiring the equation to be in constant motion. The world of Nature and the material world are not the only connection; there is a re-examination of the ‘other,’ of the way one lives in the world surrounded by objects, and the values that this represents. There is, in this repeated encounter, an understanding that we are all essentially one, as are the things of the world, within the unus mundus. This is not a state that is held and completed but one that arises by an ongoing understanding of the mystery revealed by the unconscious. The Lapis Quaternio is therefore not a completed state but one that indicates in potentia the possible link with the objective, material world. It indicates that the mystery, however defined, is there as well as in the depths of one’s being. As this understanding deepens, the Self becomes the point of reference that supplies what the instincts and unrevealed unconscious could never do: a sense of peace and stability so one becomes the ‘four squared man’ or a person who is not shaken easily by events or feelings. The final stage of the return to the Rotundum constitutes a complete unio mystica or ‘station’ as Ibn Al-‘Arabī describes it, where one is no longer subject to the back and forth of new unconscious contents or the arising of strong instinctual behavior but rather the Self stands solid and fused, unable to be assailed and pointing to a closer connection with the Divine.” 59. CW 8, 749-795. ~Leslie Stein, J.D., Jungian psychoanalyst, Becoming Whole: Jung’s Equation for Realizing God, pp. 186–188 Returning next week to Speaking of Jung: Interviews with Jungian Analysts
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