Saturday, April 17, 2010

No Experts on the Frontier

There are no experts on the frontier. An expert is a person who has a high level of technical knowledge in his specific field. Experts are valuable sources of information. They have a handle on the expected outcomes of certain tested events. They can provide a framework for a planned assault on the frontier, but by definition, they know nothing about the frontier itself.

Contrary to popular culture, space is not the final frontier. The frontier that will never be closed is the frontier of the mind. I realize that there are volumes of information and crowds of experts in sciences of the mind (psychology, et al), and libraries full of "self-help" literature. The difficulty on the frontier of the mind is not a lack of information, but a lack of implementation.

In the Information Age, information comes easily—even passively. Everyone is trying to sell you on some idea (some are honest and valuable, many are not). People understand the world through personal experience and media. Because many people lack the means—if not the desire—to broaden their personal experiences, they naturally fill in the gaps with second-hand information delivered through the media. There are many sources of great information to be found, and yet we fail to seek out good information, and merely allow information to come to us.

When creators bring information to us, they naturally want something in return. As a whole industry, advertising pays for our entertainment and gives us information about products and services we need. There is nothing inherently wrong with this. Unfortunately, even media creators tend toward laziness. It is easier to stick with what you know—where you're comfortable. It's easier to shine up the package and dumb down the internal workings to match the lowest common denominator than to cut a new path through innovation.

Experts know what they know, but they are no better on a frontier than anyone else—because the real frontier is the unknown, and no one is an expert in that.
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The Lonesome Gods - Louis L'Amour's biggest and most important historical novel to date, a sweeping adventure of the California frontier.

Friday, April 16, 2010

Failed Marketing

High Fidelity is a good movie. There are a lot of layers to it. It isn't the deepest story I've ever seen, but it goes beyond the average—especially within its category. It is fair to call it a comedy. It is also fair to say it has a love story in it—perhaps it's even "romantic." However, it is not a "romantic comedy!" Why then, does the trailer make it look like one?

Fight Club is a good movie. Like High Fidelity, it connects with something deeper—and in this case, darker—in a man's soul. Fight Club is very violent, but it also possesses a humorous edge. The main character's struggle to find himself, is something that resonates with men trying to do the same. It is a cathartic home, if not a pathway to healing. It is especially valuable for a person seeking a solution use as a platform for discussion with a mentor. It is not, therefore, a simple action-flick. So why does the trailer make it look like one?

The answer is that there is no way to promote the sophistication of a given story in a short trailer. Never mind the fact that film marketers have little interest in or understanding of story depth, the medium of a trailer is more suited to the delivery of emotion than of rationale. Compounding the problem is the current MPAA rating system, which is a great system for gauging explicit content. It just is not equipped to gauge sophistication.

What I mean is this: a movie's rating is rarely left to chance. If they know what they're doing at all, then the producers have a target audience in mind for the production. If they want a broad audience, they will often plan to make a "PG-13" film. This eliminates the younger crowd, but still maintains a rather tame film (content-wise). However, because the rating allows those who are 13 to attend, the story must be crafted in such a way that 13 year-old can understand. This puts a limit on sophistication.

If a producer wishes to talk about deeper, more adult themes (story-wise), then he must work in several "F-bombs" or perhaps a contrived nude scene in order to achieve an "R" rating. This higher rating would eliminate "kids" from the theatre (supposedly, but that's another subject). However, the "R" rating does not ensure higher sophistication, it merely enables it. Therefore, when a trailer focuses on one-liners and violent images, there is no way to tell whether or not it is a "smart" film.

If the story is good enough, then it will eventually gain fans, win awards, and go mainstream. There is a big difference between violence, language, and nudity that serves the story and those that simply serve "entertainment." However, these smarter films suffer from a sleepy start because no one knows what to expect, and few stop to understand the value long enough to pass it on. I think many gems go needlessly unrewarded as a result.

What I propose is an additional "sophistication" rating. For example, if a person dislikes "R" rated content, but is dissatisfied with the lack of intellectual challenge in "PG-13" movies, that person should be able to select "PG-13" content with an "25+" story. By contrast, if a person has a high tolerance for "R" content, but isn't looking for a challenge, he should be able to select a movie with a "13-17" story.

This system would effectively liberate media creators to cater to either intellect or emotion. The natural flow of the market would prove which is more profitable or sustainable.
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High Fidelity - Based on the book by Nick Hornby, this movie tells the story of Rob Gordon, audiophile and record-store owner, whose understanding of women is phenomenally dull. His intense emotions over a recent breakup lead him to examine his life, arriving at a simple yet profound understanding of relationships.
Fight Club - Based on the book by Chuck Palahniuk, this movie follows the meltdown of a frustrated corporate professional, who meets a soap salesman named Tyler. Together, the two found "Fight Club," an underground organization for men of similar ilk to vent their frustrations on one another, and eventually on the corporate world as a whole.

Thursday, April 15, 2010

"LOST: Everybody Loves Hugo"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"Everybody Loves Hugo"

The title of this episode is an adorable twist on Season 2's "Everybody Hates Hugo," in which Hurley's lotto winnings start to turn his life for the worse. This is a parallel with his concerns over a job Jack gives him to ration the food found in the Hatch. He's afraid to fulfill this leadership role because he thinks people will hate him out of jealousy, as they did with the lotto winnings. He initially decides to use dynamite to blow up the food storage, rather than face the task—though when Rose stops him, Hurley makes a judgement call about what's fair. Interesting, given that he actually blows up the Black Rock in this episode, and no one stops him.

The Island has it in for you.

LOST returns to its convention of the Island as a character. For those unfamiliar with the concept, a location can sometimes be counted as a character when it has a notable impact on the story. No location in any story that I know of has had more interaction with people than the Island. Since "Meet Kevin Johnson," however, so much has happened between the human characters that the influence and decisions of the Island have been disguised, or perhaps entirely absent.

The idea of a person's purpose allowing him to defy almost certain death was vividly displayed for us by Jack in "Dr. Linus" when he sits down with Richard over a lit stick of dynamite. The understanding we thought we had was undermined in this episode when Ilana drops a bag of dynamite and dies suddenly. She was in the middle of explaining that her purpose was to protect them.

Ben points out that the Island was done with her, and wonders what will happen to them when their time comes. This raises the question of whether, like Michael, they are all doomed to die, having escaped death when the plane crashed. Eloise Hawking's explanation in "Flashes Before Your Eyes" that the universe "course corrects" may well mean that the Island has the power to interrupt a person's fate, but not change it.

It is equally plausible that the Island is a force of evil, and does have it in for them, as the Man in Black suggests to Desmond. Is seems this is meant to be ominous, given the fact that "Locke" eventually asks him why he is not afraid. If the Island is the gate to hell, as Jacob says, then perhaps the Man in Black is acting as its agent when he throws Desmond into the well.

Dead men tell true tales.

The nature of the ghosts in this story has been—and still remains—largely shrouded in mystery. Michael appears to Hurley at the gravesite to tell him not to blow up the plane. This does parallel the scene where Rose tells him somebody could get hurt if he blows up the food storage. However reasonable Rose's comment was, Michael's seems overly dramatic, if not unfounded—especially after we learn that Ilana's plan is merely to destroy the controls.

After Hurley blows up the Black Rock, he says that Michael told him to do it, and that ghosts are more reliable than live people. Even, apparently, murderers. When we learn that the whispers are the ghosts that cannot move on, it sheds some light on the effectiveness of ghost instruction. It is still unclear if the ghosts Hurley can see are the same as the dead people that show up in dreams, but if they are then they can be assumed to be on Jacob's side.

Which brings me to another point: Richard reminds us that Jacob never tells them what to do. However, Jacob has been instructing Hurley. Unless it's not Jacob.

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Thursday, April 8, 2010

"LOST: Happily Ever After"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.

"Happily Ever After"
"You think you're happy. You think you've got it all--this, your life. But, you don't." -Charlie Pace
This episode is an analogy of contemporary culture. People are content, but not necessarily happy. They have material trappings, but lack connected relationships—and connections have defined this show. Contentment is the enemy in this episode. The characters in the flash-sideways have everything they could want—except their spirits.

The scene with Desmond and Charlie in the bar is as profound as the scene between Jacob and Ricardo on the beach in "Ab Aeterno." After having disregarded traffic as if it were not real, and ignoring Desmond's material temptations, Charlie explains that he saw of vision of something "real." He saw a woman, whose description matches Claire, and felt a sort of profound love. This vision stirred his soul and led him believe that the world was not real.

Upon hearing Drive Shaft's famous single, he sarcastically comments that that was the beginning of everything great. I got the distinct impression that things did go well for the band (they seem to still be together), but that Charlie somehow had a growing sense that it was too good to be true. This may be why he was taking drugs in the first place. It took a near-death experience to reveal the truth—Charlie's necessary fall from grace.

Charlie forces Desmond to have a vision of his own, not so much through a near-death experience as through a total diversion from the social norm. The car crashing into the water symbolically invokes the wilds, as it is both uncertain and unsafe. It is fitting then that Desmond should see a vision of the other timeline, where Charlie's hand bears the message "not Penny's boat."

Because of his vision, Desmond fails his mission of reining in the self-destructive rock star, and must explain himself to Mrs. Widmore. Despite her apparent reputation, she accepts Desmond's apology graciously. It is only when he shows interest in the name "Penny Milton" that she turns hostile, revealing a larger scheme.

She speaks in the age-old voice of an aristocrat who believes it's her duty to protect and satiate the ignorant masses. She is obviously annoyed that he is no longer content with having the thing he wanted most—Charles Widmore's approval. She tells him he is not ready and should stop looking.

Having hit a dead end, Desmond leaves only to be confronted by Daniel Widmore. He tells Desmond a story about love at first sight that echoes his own experiences and those described by Charlie. He reaffirms Charlie's suspicions that there is another world, because his vision enabled him (a classical musician) to draw a complex physics diagram—the one that described the incident.

After meeting Penny (with Daniel's help), Desmond is set on a path, which we can suspect might unite the two timelines. The choice that stands before each of them is to play the game of mediocrity or seek to change the game.

It may well be that they were meant for a harder, but more significant, life.
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Wednesday, April 7, 2010

The FIT State of Legos

I recently bought my son his first set of real, bona fide Legos. Entrusting a three-and-a-half year old with something as small as Lego studs is always a bit unnerving for me. Not because I think he's going to eat them, but because vital pieces have a way of disappearing. The words "vital pieces" is telling for anyone who knows me. I can be extremely anal-retentive when I let myself. He did so well with his new set that—I'm proud to say—I got out of my comfort zone and let him have have my coveted collection of castle pieces, etc.

Sitting in his room, amid what looked like a hurricane disaster area, I tried to piece together the remnants of a shattered castle without the aid of instructions. Now, I realize that it is stereotypical of guys (however unfair or unfounded) that we do not like to look at the instructions. I was, however, in a state of distress over the missing castle plans, while he rapidly began designing his own. I have been talking a lot about "creators" and "performers" lately, and the subject was still on my mind during this dilemma, which brought up a good question.

If I consider myself a creative person, and a creator by nature has difficulty performing under anyone else's rules, then why did I want so badly to find the instructions?

My first attempt at resolving this conundrum followed the reasoning that I am a storyteller by nature, and I need a stage on which to tell the story. The construct of a Lego world, was in effect, that stage. Yet I realized that it is a performance that is done on a stage and not the actually creation. Afterall, a script forms much of the basis for a movie set, not the other way around.

Upon deeper reflection, I realized that what I had (and my young son lacked) was an understanding that those pieces had a natural form that they were designed to be in. They had a state of FITness. A form that made use of every single piece, could not do without certain pieces, and would not be as stable if reconstituted in a different form. In effect, the creation was perfect, it was complete, it was done. There was nothing I could add or innovate. Therefore, I was compelled to comply with this "truth," in order that I might utilize its predisposed "integrity" to give myself and my son a platform of "freedom" upon which to create our own stories.

Oftentimes, I believe, we seek to reinvent the wheel in the name of innovation. This may be due to a simple lack of knowledge about what already exists, and often is a failure that teaches us that knowledge. To truly be creators we have to know what has been created and why. Physical forms (and even some mental ones) serve as their own legacy. They are there to examine, and the information of their creators is there to show us the thing's physical nature. Once we've seen what can be examined, and realized what can be learned, we must imagine what can be possible from there forward.
FEATURED MEDIA: Legos are among the most versatile toys ever created. The state they were designed to be in is of a high level of stability, but the very fact that they can be endlessly tweaked and re-imagined not only teaches people to think different, but also teaches them about the stability and rules by which they ought to play. Also, they're indestructible.

Monday, April 5, 2010

March '10: The Month in Posts

This post fell a little late, because I had apparently, and almost accidentally, created some cohesion this month. The dominant theme of this months posts had to do with a deeper understanding of two different types of producers: "creative" and "performing." I therefore, had to weed down the number of articles that dealt with this subject matter to the one that, I hope, best captures it. The others deal with a greater understanding of organizational structure, which will serve as s good primer as we delve into these subjects in the future.

Creative Control - March 8, 2010
Media, money, and marketing: the three M's of any artistic/creative endeavor, which have a naturally close relationship and therefore require the close attention of the key creator(s) or artists. Media is the thing itself; the "souvenir" or the channel through which the content is transfered to the consumer. For most artists, the chosen medium is important to the specific content (i.e.: a cookie is the ideal medium for a fortune). Whatever medium is chosen, some amount of money will be needed to give it life, and once alive, marketing is needed to recoup funds at a profit—if for no other reason than to personally fund another project. (read more)
The Wilds - March 15, 2010
It is difficult to see the supernatural from the heart of civilization. The more wild, the more is possible. The wild is an essential part of literature, as it is connected to and revealing of the heart of man, which is the force that moves a civilization forward. The very thing that compelling art seeks to capture in media, I believe, is the truth of the human heart (or soul). However, this is not something that stories can reveal as long as the fictional characters are ensconced in the routines of civilization. (read more)
Überfans - March 16, 2010
When it comes to entertainment media, there are several levels of interest. Regardless of its presence in the mainstream or the number of people in its own unique culture, all media inevitability rests its influence on three basic groups. First, the largest group worldwide is made up of those who know nothing about a given project, but may nonetheless be indirectly influenced by its effects. Second, those who consider themselves to be fans. Third, those who go beyond a simple appreciation to become überfans. (read more)
Third Side Philosophy - March 21, 2010
Third side philosophy is not any one specific philosophy, as far as I'm concerned, but an open-minded attitude toward all political and philosophical thought. The lack of such open-mindedness is most evident (but by no means exclusive to or 100% defining of) partisan politics and well-established big business. Both of these represent big institutions with strong central powers which have been doing what they are doing for far longer than current innovations have been around. That is to say, the game is changing but the players are not. (read more)
The Creative Cat - March 31, 2010
There are also two kinds of producers: creators and performers. Creators originate and innovate goods, services, and even business models. Performers make this happen, and get it into the hands of the end consumers. Creators develop and manufacture, while performers market and distribute.In the past, I've also referred to these as "developers" and "promoters," respectively. I think that the use of the words "creator" and "performer" are more general and all-inclusive. (read more)

Sunday, April 4, 2010

"LOST: The Package"

DISCLAIMER: In a previous post, I discussed the importance of ABC's "LOST." Therefore, I am beginning a series which briefly explores thoughts on the show with respect to FITmedia and Truth in Fiction. Being as the posts are philosophical in nature, I will try to keep story spoilers to a minimum. However, because many of the philosophical pillars are tied to critical events, it is impossible to discuss without some spoilers. For those of you not following the show, I hope that these posts will be worthwhile on their own merit, and should they inspire you to watch the show, that they will not have ruined the plot for you. You have been warned.


"The Package"

I must apologize for the belatedness of this post. In following several threads of thought, I got good and lost in myth and legend. Following the powerful and neatly packaged (pun totally intended), "Ab Aeterno," which buttoned up the series nicely for those who relate to the Judeo-Christian and Islamic canons, it seems that the writers thought it prudent to mix it up a bit. I can only assume that the clarity of Richard's story was necessary to carry us through the complex story which will unfold over the remainder of the series.

The War

When "Locke" is talking to Charles Widmore on Hydra Island, he tells him, "A wise man once said that war is coming to this island, I think it just got here." This is a very ironic statement, given that it was Widmore who said it to John Locke in "The Life and Death of Jeremy Bentham." Widmore's exact words as quoted in Lostpedia are: "Because there's a war coming, John. And if you're not back on the Island when that happens, the wrong side is going to win." If we are safe in assuming at this point that Widmore and his people are at war with the Man in Black and his people, then two questions arise. First, which side is the right side? Second, why did Locke need to be "back on the Island"? If we assume that Widmore is fighting for Jacob, but Locke's purpose was only to aid the Man in Black's murder plot, then we have to assume the Man in Black intervened somehow.

It seems to me that what the Man in Black "had to go through" ("The Incident") to kill Jacob largely included manipulating Ben Linus both on Island and off. Specifically, he made two plays that Widmore did not intend—both of which involved Ben. Although Widmore knew that Locke was told he would have to die before returning to the Island, he dismissed the knowledge, sending John along with Abaddon. The two plays the Man in Black made (via Ben) were that Ben killed Abaddon (which then allowed him to kill Locke), then "Locke" had Ben kill Jacob. In fact, Ben seems now to have been a pawn of the Man in Black since he saw his mother in the jungle ("The Man Behind the Curtain")—in much the same way that Richard saw Isabella ("Ab Aeterno").

The Man in Black

It is clear now why as many of the Oceanic Six as possible needed to be brought back to the Island. Not only is the Man in Black trapped on the Island by Jacob, but it seems he is also trapped by Jacob's candidates. His goal is to take them all off the Island with him, which is presumably easier than killing them. The reason I say that is because I can't find a definitive record of the Smoke Monster directly killing anyone who was a candidate, which suggests that he cannot kill candidates for the same reason he could not kill Jacob.

In this episode, the Man in Black asks Sun to join him, dangling the carrot that Jin is with him, but saying that he doesn't want to make her do anything against her will. However, he says this in the same breath as telling her that he gave the people at the Temple the choice to come with him or die. In other words, it is more of an "offer she couldn't refuse"—to quote "The Godfather." He seems surprised when she runs, and pursues her through the jungle. If he really meant she had a choice, why did he pursue her? We have seen numerous instances where characters have manipulating others into making a choice, when it was not, in fact, their choice at all—especially Ben, who is an infamous liar (though still considers himself "one of the good guys.")

The question of how to reconcile this discrepancy in Ben (and potentially the Man in Black) drove me to look into the supernatural concept of "the angel of death." I found several interesting things, but what struck me most was the information I found on the archangel, Samael. An important figure in the Talmud, a text of Judaism, Samael's chief role is as an angel of death. This passage from Wikipedia is particularly relevant to LOST:
In Jewish lore, Samael is said to be the angel of death... Yalkut I, 110 of the Talmud speaks of Samael as Esau's guardian angel... [Some] Hebrew scholars say that it was Samael who tempted Eve in the guise of the Serpent. Samael is also sometimes identified as being the angelic antagonist who wrestled with Jacob...
Esau is the older brother of Jacob in Hebrew texts, and so his name has been tentatively applied to the Man in Black since his first appearance in "The Incident." In the story, Esau promised his birthright (a blessing given to the firstborn) to Jacob in exchange for a bowl of stew. Later, Jacob disguised himself as Esau to receive the blessing from their blind father. When Esau learned what had happened, he vowed to kill Jacob.

While there are parallels between Esau and the Man in Black, the angel Samael parallels the Smoke Monster more. The mural in the "Cerberus chamber" (where Ben was judged) depicted a form of serpent alongside the image of Anubis, an Egyptian god of the dead. Similar to Anubis—but more severe—the character of Samael is dark, and his duties are of death and destruction regardless of his status as good or evil. Indeed, he is seen as evil which serves the purpose of "God's severity."

This is important for our discussion, as it seems there is some confusion among the general audience (myself included) about how the show defines good and evil. LOST has demonstrated extraordinary sophistication in the way it depicts the complexities of this conflict. When we understand that death and destruction can be a part of God's plan, such as the plagues on Egypt, then we can not only entertain the thought that the Man in Black might not be distinctly evil, but we can also understand how both Ben and Widmore can be considered "good guys."
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The Godfather: An exploration of man's capacity for evil.