The reign of the Hero has come to an end. As humanity faces increasing crisis and collapse, we come to a threshold where the archetype of the Hero can no longer be our saviour. We have entered a liminal time – a space between stories – and so we must bend and instead look to, and learn from, the boundary-crossing, shape-shifting Trickster.
Join Ben Murphy and John Wolfstone as they explore the significance of this cultural transition and how it applies to each of our lives.
Original story: https://www.ign.com/articles/crimes-of-the-future-david-cronenberg-expects-revulsed-walkouts
Crimes of the Future director David Cronenberg is expecting a major response to his graphic new body horror film.
During an interview with Deadline, the 79-year-old filmmaker said he’s expecting a lot of people to be ‘revulsed’ by the movie – and anticipates walkouts.
“There are some very strong scenes,” he explained. “I mean, I’m sure that we will have walkouts within the first five minutes of the movie. I’m sure of that. Some people who have seen the film have said that they think the last 20 minutes will be very hard on people, and that there’ll be a lot of walkouts. Some guy said that he almost had a panic attack.”
“I say, ‘Well, that would be OK’,” said Cronenberg about the potential reactions to Crimes of the Future. “But I’m not convinced that that will be a general reaction. I do expect walkouts in Cannes, and that’s a very special thing. [Laughs] People always walk out, and the seats notoriously clack as you get up, because the seats fold back and hit the back of the seat. So, you hear clack, clack, clack. Whether they’ll be outraged the way they were with Crash, I somehow don’t think so. They might be revulsed to the point that they want to leave, but that’s not the same as being outraged. However, I have no idea really what’s going to happen.”
Crimes of the Future is a twisted return to sci-fi horror for Cronenberg, who previously brought us the likes of Scanners and Videodrome.
Here’s the official synopsis: “As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. Accompanied by his partner, celebrity performance artist Saul Tenser showcases the metamorphosis of his organs. Meanwhile, a mysterious group tries to use Saul’s notoriety to shed light on the next phase of human evolution.”
Original article: https://www.unilad.co.uk/news/flight-aborted-eerie-pictures-sent-passengers-phone-plane-crashes-20220510
According to local reports, the passengers were set to travel from Israel to Turkey, but the pilot decided to turn back to the terminal at Ben Gurion Airport amid the panic.
Israeli publication Kan News noted how the images showed a series of plane crashes, with no one knowing who was responsible for sending them.
One passenger who was aboard the flight when it was aborted told the outlet: “We got on the flight and the plane started moving.
“Most people received a request for a photo confirmation in AirDrop, some approved and some did not.
“The plane stopped and the flight attendants asked who got the pictures.”
As police swarmed the plane, the passenger said they were escorted off the flight, adding: “The airport manager told us there was a security incident.
“They took all our luggage out of the plane for a second check.”
Adding to this, local radio broadcaster Galei Zahal reported that 166 passengers received the unnerving images.
After they notified the cabin crew of the unusual activity, the pilot decided to return the Turkish Airline plane to have the incident investigated by security.
Among the pictures were two of wreckages, one of which was of a Turkish Airline plane that crashed in Amsterdam in 2009 and led to the deaths of nine passengers.
A second showed the 2013 wreckage of the Asiana Airlines Flight 214 that crashed in San Francisco, killing three.
Deep in the dark recesses of a limestone cave in Alabama soar life-sized figures that span earthly and spiritual realms. Traced into the mud of the cave ceiling by torchlight more than a thousand years ago, the sprawling scene is so enormous and faint it cannot be discerned by the naked eye—yet the ancient etchings are being celebrated as one of the largest rock-art creations in all of North America, and the largest to ever be discovered in a cave.
In a study published today in the journal Antiquity, researchers describe how they used a process known as 3D photogrammetry, originally developed to capture vast expanses of Earth via aerial photos, to uncover the enigmatic images sheltered in an underground system in the Southeast United States known prosaically as “19th Unnamed Cave.” Its location is shielded to prevent looters and casual cavers who could damage or destroy the ancient artwork for profit or by mistake.
Original story: https://www.worldofreel.com/blog/2022/4/pg6gvpiho6x9kfdk09mg4weuxrymhd
It was almost a foregone conclusion that David Cronenberg would be bringing his upcoming “Crimes of the Future” to this coming May’s Cannes Film Festival.
The film is now being screened for international programmers, and I was lucky enough to find one reaction that will make absolutely every cinephile excited about the legendary director’s much-anticipated comeback vehicle…
“I cannot say much, obviously, but if people thought “Crash” was divise back in 1996, this is going to create way more chaos and controversy for sure. The last twenty minutes are a very tough sit. I expect walk-outs, faintings and real panic attacks (I almost had one myself!) at the Lumière theatre. No hyperbole, I promise.”
“Seydoux’s role is way too bonkers and RADICAL to contend for a Cannes Best Actress award in my book, but I’d love to be proven wrong. I see no precedent in Cannes for a performance of that caliber/genre gaining momentum with a jury … I mean Seydoux basically plays a (very oft-naked) Gina Pane-like artist of the near future.”
Please inject this movie into my veins right this minute.
Cronenberg hasn’t directed a film since 2014’s “Map to the Stars.” This latest one, his return to sci-fi after an almost 23 year absence, is also rumoured to the be 79-year-old’s swan song.
Extended Synopsis for”Crimes of the Future”:
“Taking a deep dive into the not-so-distant future where humankind is learning to adapt to its synthetic surroundings. This evolution moves humans beyond their natural state and into a metamorphosis, altering their biological makeup. While some embrace the limitless potential of trans-humanism, others attempt to police it. Either way, ‘Accelerated Evolution Syndrome’ is spreading fast. Saul Tenser is a beloved performance artist who has embraced Accelerated Evolution Syndrome, sprouting new and unexpected organs in his body. Along with his partner Caprice, Tenser has turned the removal of these organs into a spectacle for his loyal followers to marvel at in real time theatre. But with both the government and a strange subculture taking note, Tenser is forced to consider what would be his most shocking performance of all.”
Rage by “Richard Bachman” epub download
Wikipedia
Rage (written as Getting It On; the title was changed before publication) is a psychological thriller novel by American writer Stephen King, the first he published under the pseudonym Richard Bachman. It was first published in 1977 and then was collected in 1985 in the hardcover omnibus The Bachman Books. The novel describes a school shooting, and has been associated with actual high school shooting incidents in the 1980s and 1990s. In response King allowed the novel to fall out of print, and in 2013 he published a non-fiction, anti-firearms violence essay titled “Guns”.
An innovative retrospective of work by Jonas Mekas reveals the fundamental honesty of his “diary” films.
A Lithuanian refugee who landed in New York City in 1949 at the age of 27, Jonas Mekas became a founder of the Film-Makers’ Cooperative, Film Culture magazine and Anthology Film Archives. He was the first full-time critic at The Village Voice, writing about film, and a widely published poet. But he also made scores of collagelike “diary” films that documented his busy, art-filled life.
February 4, 2022 • By Jack Skelley
AUTOFICTION IS A fiction. It does not exist. More specifically, defined as a form of literature in which a first-person narrator may or may not represent the author, autofiction excludes next to nothing but genre fiction — e.g., crime stories, fantasy. If it’s everything, it’s nothing.
Just ask Chris Kraus. The co-publisher and editor (with Hedi El Kholti and the late Sylvère Lotringer) of Semiotext(e) has brought decades of character-narrative to light, including the early work of autofiction pioneer Kathy Acker. “I always hated the term,” Kraus tells me. “‘New narrative’ is more accurate.”
When it ignited in the late 1970s, Acker’s work had no specific classification. It did anything and went anywhere. Today, its giddy, free-range, punk-rock, first-person spews and cut-ups (spatula’d together equally from porno and the literary canon) liberate quasi-multitudes. Kraus was also among the first to consciously codify this non-genre when she detonated I Love Dick (Semiotext(e), 1997), her novel that plays with the “I” in supremely unsettling bursts. You could even argue that I Love Dick, which often slips into art criticism and political commentary, also opened the way for “autotheory” — e.g., the bio-based lyric essays of Maggie Nelson.
With the proliferation of indie presses, “now is as good a time as any in writing,” Kraus tells me.
People are inclined to adopt these forms. But Kathy Acker had something no longer possible: a chamber audience. The art and literary world of her day was like the French court of the 18th century: she was writing to a set of known persons. There was a real-life distribution network of bookstores, record stores, coffee shops, and other intimate hangouts. People don’t live in cities in the same way now.
But if intimacy abates, new narrative booms. Its dissociative forms and themes — the anxiety/bliss of romance/sex, psychic roleplay, identity-in-ideology, dream states, trauma, more sex — now serve a community of passion addicts, haunted memoirists, and mental thrill-riders hungering for a higher high, some even using books as panic management, with somatic responses in “triggered” modes or via sub-sub-subgenres. Raise your hand if you’re into “ambient body horror.”
If I had to pick my own introduction to the genre of noise, it would be around 1992. We were skateboarding one night, and this kid that I kinda recognized from school rolled up with “FVG/\ZI” and the Crass logo spray painted on his grip tape. He had a mohawk and an army jacket, and a hell of a one-footed ollie. The next day, I went to the record store Noise Noise Noise and bought The Feeding of The 5000, and was hit by a 2-minute and 42-second dose of spoken word/noise called “asylum”.
In 1996, Victory Records released a split 7-inch with Integrity and Psywarfare, and two years later a split 7-inch with Integrity and Lockweld. I may not have totally understood the sounds at the time, but I accepted them.
By 2008, I was experimenting with making my own noise and shortly after, struck up a friendship with Dwid Hellion that has resulted in more productivity and encouragement around my creative endeavors than almost anyone in my life.
New studies reveal that people love to pirate TV and books, and that Americans outpace every other country when it comes to piracy.
The pandemic caused piracy to spike in 2020. According to a pair of reports from security researchers, 2021 was another growth year for online piracy. As first spotted by TorrentFreak, new reports from research groups Akamai and MUSO revealed that users visited pirate sites a total of 132 billion times in the first months of 2021, a 16% rise over the previous year.
