The Liminalist # 42: Hollywood Transgressor (with Alex Cox) – AUTICULTURE

Long-form conversation with independent filmmaker Alex Cox, on Alex in winter wonderland, diegetic sound, Oxford days, the changing climate at Oxford, an environment of the oligarchy, the idiot rich, film school years, Repo Man, Harry Dean Stanton … Jimmy Savile, BBC, organized abuse, the problem of nihilistic glamor, heroin addiction and childhood trauma, plugging Sebastian’s book, turning pain into glamor, covering up crimes, … of crime, politics, & entertainment, Lobster magazine, … Universal studio’s subterfuge with Walker and the Havana film festival, tricking Castro, gray studio suits faking hipness, how Universal abandoned their own movies, … pure propaganda movies, CIA film production, Operation Mockingbird, Carl Bernstein’s career trajectory, Bob Woodward and Naval Intelligence, Hollywood intelligence link, The Counselor and Tony Scott’s suicide note, the Scott brothers, … Dave McGowan and Laurel Canyon, CIA-LSD, …meeting Hunter S. Thompson, HST’s Hollywood enablers, Loose Change, David Lynch speaking out on 9/11, … Room 237 and the cult of Kubrick, … quantum field experience, Rashomon Tombstone and crowd control, how to assert authority without hurting anyone.

Alex Cox’s website.

Songs: “El Mariachi”  and “Monkey Said,” by The Freak Fandango Orchestra; “Big Nothing,” by The McManus Gang; “The Good the Bad & the Ugly,” by The Pogues; “Money Guns, and Coffee,” by Pray for Rain. (All songs from Straight to Hell soundtrack, used by permission of Alex Cox.)

Source: The Liminalist # 42: Hollywood Transgressor (with Alex Cox) – AUTICULTURE

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Seeming, Being, and the Courage to go Deeper by Briana Saussy

Albino-Western-Diamondback-RattlesnakeRead the whole article / post here: BrianaSaussy.com
In the old stories when the hero needed to see something clearly, needed to strip away illusion and get to the bottom of something she would often ask three questions:
Who are you?
Where do you come from?
What is your name?
These questions are not mere literary devices to make the story move forward. They are the exact same questions that sacred artists have been taught to ask of their dreams, their intuitive flashes, and their liminal experiences. They are questions that allow each experience we encounter, be it a a feather fallen on the ground at our feet, a mysterious figure that showed up in our dreams, or an idea that is presented as the latest and greatest, to reveal itself as what it actually IS, not what we, or someone else, would like it to be, but what it actually is here and now.
Who are you? Let the experience, the idea, the object speak for itself — not what you want or need it to be, not what someone or some book tells you it is — learn from it directly.
Where do you come from? What is the source of this idea, this experience, this teaching? What is the lineage? What ground has it sprung out of and what are the motivations behind it?
What is your name? Older than old wisdom teaches us that to know the true name of a thing is to know the essence, to know the very being.
The process is not easy, not cut and dry, not reducible to a 7 step program or a diagnostic test. It requires descent into shadowy realms and willingness to lift up rocks and see what is living underneath them, a courage to look beyond the appearances and see what is actually there. It requires practice. That is where the miracles happen. That is where the magic begins.
(Listen to this lunar letter by clicking here).

Seeming, Being, and the Courage to go Deeper ⋆ Briana Saussy.

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Peter Dale Scott: The American Deep State (ONE of TWO)

Peter Dale Scott: The American Deep State (ONE of TWO)

by Maria on December 30, 2014

american-deep-state-pds

Wall Street, Big Oil and the Attack on U.S. Democracy
Professor Peter Dale Scott is a Canadian-born former diplomat, and retired Professor of Literature at the University of California, Berkeley. He is the author of many books and articles on state terrorism, surveillance, drug-dealing by the CIA, and political assassinations.

His most recent book, The American Deep State, October 2014 by Rowman & Littlefield, makes a compelling case for a hidden “deep state” that influences and often opposes official U.S. policies. The deep state is a second order of government, behind the public or constitutional state, that has grown considerably stronger since World War II. Peter Dale Scott cites convincing evidence that the deep state is partly institutionalized in non-accountable intelligence agencies like the CIA and NSA, but it also includes private corporations like Booz Allen Hamilton and SAIC, to which 70 percent of intelligence budgets are outsourced. Behind these public and private institutions is the traditional influence of Wall Street bankers and lawyers, allied with international oil companies beyond the reach of domestic law.

Peter Dale Scott gives the outline of this argument in Part ONE of this program – followed by the recording of a lively Q/A session. I recorded this talk on November 9, 2014, in the poetry room upstairs at City Lights bookstore and publishing house in San Francisco. Peter Maravelis, the events coordinator for City Lights, gave the introduction to Party ONE.

Standard Podcast [ 29:01 ] Download

Peter Dale Scott: The American Deep State (ONE of TWO).

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The Eighth Tower by Algorhythms

The Eighth Tower is a skeleton key to EELRIJUE, a cross-section of the themes and characters involved in this forboding lucid dreamscape. The shifting perspectives are designed to get the listener acclimated to perceiving the superspectrum with minimal discomfort.

This could also be considered a diss track to Stephen Greer and his Disclosure cult.

KEEL WAS RIGHT.

The Eighth Tower by Algorhythms

Algorhythms is a psychedelic rap duo, featuring lyrics by Thirtyseven and beats by Dr. Quandary.

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One Man’s Quest To Find The ‘Sonic Wonders Of The World’

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Ever wonder why your voice sounds so much better when you sing in the shower? It has to do with an acoustic “blur” called reverberation. From classical to pop music, reverberation “makes music sound nicer,” acoustic engineer Trevor Cox tells Fresh Air‘s Terry Gross. It helps blend the sound, “but you don’t want too much,” he warns.

Cox is the author of The Sound Book: The Science of the Sonic Wonders of the World. He has developed new ways of improving the sound in theaters and recording studios. He’s also studied what he describes as the sonic wonders of the world — like whispering arches and singing sand dunes. His sonic travels have taken him many places, including the North Sea, where he recorded the sound of bottlenose dolphins underwater, and down into a revolting Victorian era sewer, where he discovered a curving sound effect he’d not heard before.

READ THE REST HERE:

One Man’s Quest To Find The ‘Sonic Wonders Of The World’ : NPR.

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Can You Hear Me Now? The New Explosion in Audio Books

The digital revolution may have dealt a heavy blow to print, but it is boosting literacy in other unexpected ways by fueling the explosive growth of audio books.

Listen to Some Audio Book Excerpts

 

Once a static niche for aficionados renting clunky cassettes or CDs for their commutes, audio books have gone mass-market. Sales have jumped by double digits in recent years. Shifts in digital technology have broadened the pool of potential listeners to include anyone with a smartphone.

At the same time, publishers are investing six-figure sums in splashy productions with dozens of narrators. Using the Netflix model, some audio book producers have even started experimenting with original works written exclusively as audio productions, ranging from full-cast dramatizations in the style of old school radio plays, complete with music and sound effects, to young adult novels, thrillers and multipart science fiction epics.

“It’s one of the few times in history that technology has reinvigorated an art form rather than crushing it,” said Max Brooks, author of the zombie novel “World War Z,” which was released in May ahead of the Brad Pitt movie in an elaborate new audio edition with 40 cast members, including Alan Alda, John Turturro, and Martin Scorsese. It sold 60,000 CDs and digital-audio copies. “Now, because there is such demand and the production value is so inexpensive, it opens the door for more creative storytelling.” he said.

[image] Illustration by John S. Dykes

Digital innovation isn’t just changing the way audio books are created, packaged and sold. It’s starting to reshape the way readers consume literature, creating a new breed of literary omnivores who see narrated books and text as interchangeable. Last year, the audio book producer and retailer Audible unveiled a long-awaited syncing feature that allows book lovers to switch seamlessly between an e-book and a digital audio book, picking up the story at precisely the same sentence.

So far, Audible, which is owned by Amazon, has paired some 26,000 ebooks with professional narrations. The company is adding more than 1,000 titles a month and aims to eventually bring the number to close to 100,000.

“We’re moving toward a media-agnostic consumer who doesn’t think of the difference between textual and visual and auditory experience,” says Don Katz, Audible’s founder and CEO. “It’s the story, and it is there for you in the way you want it.”

Audio books have ballooned into a $1.2 billion industry, up from $480 million in retail sales in 1997. Unit sales of downloaded audio books grew by nearly 30% in 2011 compared with 2010, according to the Audio Publishers Association. Now they can be downloaded onto smartphones with the tap of a finger, often for the price of an e-book.

Read More:

Can You Hear Me Now? The New Explosion in Audio Books – WSJ.com.

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Copyright and blind-friendly books: Between the lines

THE 198 books were piled on a table and wrapped in chains; only two remained free. Blind people were helping the 600 negotiators at a conference in the Moroccan city of Marrakesh visualise “book famine”. The world’s 285m visually impaired people (40m of them blind), live mostly in poor countries where books in friendly formats (Braille, audio and large print) are scarce. A recent estimate is that Africa has only 500 works for blind English-speakers.

The Marrakesh meeting was to finalise a copyright treaty, of which the most important provision—according to Dan Pescod of Britain’s Royal National Institute of Blind People—is to allow blind-friendly books to be exported. Today’s copyright regime prohibits such cross-border trade. A Braille book made in America, for example, cannot legally be sold in Britain. Argentina has over 50,000 works available for visually impaired readers, but they cannot be distributed in neighbouring Uruguay, which has a paltry 4,000. Charities must therefore acquire the rights and pay for another conversion (which can cost more than $7,000). This takes time and wastes money.

Read the rest here:

Copyright and blind-friendly books: Between the lines | The Economist.

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