The Tensor
August 5-8, 2011
Klaus
The most famous line by Tim Leary, "Turn On, Tune In, Drop Out" was once questioned by a reporter who asked Tim, "what then"? Leary apparently replied, "Find the others".
One great aspect of the Internet has been this exact process of "finding the Others", which on one hand, provides depth and understanding, and a very healthy sense of hope. It's no wonder Leary was such a huge champion of the Internet, and recognized it's power so early in the game.
I HAVE to believe that Gnosis is the same for every human being on a biological level, but it's the psychological that is seemingly different. The cover of DSOTM is this concept, with the white light of biology diffracted into the 7 veils of Isis' Rainbow.
The Apes of 2001 are stranded and starving. Does the Monolith choose the weaker tribe? Is there intent? Or is it just a random arrival?
It seems at first that the Monolith evokes Gnosis, but I don't think so now. The Monolith initiates and indoctrinates, and uses the apes for it's own goals.
LeClair
Bill,
I am thinking about starting a new blog with some of the info we have discussed, specifically related to the tensor and the mash-up timings. Maybe invitation only--to give it a bit of posh.
How do you feel about this idea? It would take some time to compile of course, and I would touch on a great deal of our discussion thus far. Let me know.
Klaus
I am open to discussing this. It could offer some more structure, and help to provide some direction. I do like the invitation only angle.
LeClair
OK, cool. My idea at this time is first, for me to get my act together and compile the first part of the "tensor", along with instruction on how to run the mash-ups. I would like to include a brief history of the discovery of these mashes as initiated by our conversation.
The first part of the tensor will cover on the first "suite" of DSOTM, which I have designated as Speak to Me/Breath and On the Run, basically up to the chimes in Time. It will include reference to all plays of this suite in all places it appears in all three films.
I could start to work it right away and post the blog for you only for a read through. We could exchange some ideas and I could do an edit wherever needed. We could then invite a few readers who we dig. The process could then be repeated for the next part of the DSOTM tensor and further through Meddle and The Wall. All the movies matched from the same start with all the albums. Nine total movie mashes. Obviously, the complete tensor will take some work and time.
Regarding credit, I am willing, indeed happy, to advertise this as a full collaboration between you and me. Regarding the final edit, I hope we can also remain equals in spirit, if not in word count.
What do you think?
Klaus
This is where the trust fully comes in. The key elements for me are to put the priority on quality and focus on honesty. I firmly believe that my ego is in check, and I sense that yours is as well. I can get lazy, but it is nearly impossible to offend me when discussions of output arise. Translation: the minute you feel I am not living up to my end of the bargain, it is essential you address the concern.
I would like to offer up iAhuasca as a possible working title. I find that the term encompasses a lot, and is a fantastic ice breaker for discussion. I envision creative decisions will provide more turbulence than analysis. Being familiar with your creative spirit and sense of humor, any turbulence seems like it will be manageble.
Before I get too ahead of myself, I have to say that I accept the full collaboration offer, mostly because of your opinion of my value, and my trust in your judgement. I am honored to have this opportunity.
I have to go to work in a few minutes, but I will formulate some questions I feel should be addressed regarding focus, goals, format. I haven't created a blog, but I am the proud owner of a new MacBookPro, so there is less reliance on the iPhone. It will make typing much much easier.
I'm excited to be part of this project and I look forward to continuing our exchange of ideas, and opening up the discussion in a productive format. I'm completely green in the blog production arena, so I am ready to follow your lead.
Just a few questions regarding format, tone, goals.
1. Introduction: considering how deep this travels, from where do we begin? What do we assume that the reader understands? Are we preaching to the choir or trying to bring people in?
2. Tone: Serious? Satire? 100% accurate, or littered with dead ends and wrong turns (to mirror the Overlook maze).
3. Goal: is the primary goal the exegesis of the Tensor, thus inviting commentary on the exegesis? Or, is our goal to present the exegesis as a springboard for our commentary? I'm imagining a Book of Lies given to the public with or without the Commentary.
4. Fair Use: how much can we present of actual sound/video?
LeClair
I am glad you feel this way. I have been a bit discouraged of late, that our relationship would disintegrate, but right now I somehow feel quite positive--like we can really give this a go.
Here are some thoughts on your four questions as well as on the blog title and timing questions.
1. I have some pretty well formulated ideas on how to start things off. I think I can provide enough background in the explanation of a) how we come to perform these experiments and b) the instructions on how to run the mash-ups. Leave this to me for now and when I have a draft I'll run it by you.
2. Regarding the tone. It is my desire to divest myself, for this project, of my usually cynical and ribald tone for a serious but simple and breezy academic groove. Regarding the content, I seek only accuracy, because in essence we are "code breaking". If you and I can not agree on a specific interpretation, we can use it as an opportunity to present some tension, and let the reader make up their mind.
3. The third question is also answered by the idea of "code breaking". As we discuss our mutual interps, it is our goal to reveal as much of the Kubrick code as possible, trending toward some finite conclusion. It may be a while before we reach that conclusion, indeed we may not reach it at all, but I think the widest possible range of commentary and reader comment should be desired.
4. Regarding video/sound. I think we can avoid this by a) using only selected images and still captures from the movies and b) providing a timing key so that readers can properly line up small parts of the movies for study against the Floyd. I have completed such a key for DSOTM and will do so for the other albums as we continue.
About the blog title. In the spirit of honesty, I must admit that I don't think iAhausca is the best title, because it fails to contain the immediate nature of the project, which is to examine these three films. Having said that, I agree that iAhausca is a cool phrase that needs to be mentioned. As a compromise, I suggest that a short forward entitled "iAhausca" remain at the top of the blog. This essay can explain the concept and ethos of iAhuasca. My demands for the title are only that it include the words "Stanley Kubrick" along with an intriguing description of the process of our exegesis. I had imagined "Stanley Kubrick and the Physical Tensor", but I am reasonable and flexible on this matter.
In regard to timings, I want to make sure we have reached the same conclusion. In every part of the tensor, the timings must always be the same start. 3 movies. 3 albums. 9 total film experiences, each with a mountain of data provided by the fixed "rulers" of the Floyd albums.
Finally, I want to add that it is my plan to completely shed any connection with this effort to my various personae on my blogs and at metaphilm. I want to cut that part of me loose and focus only on this project. To meet that end, I plan to open a new blogger account under the name of iAhausca. Our names can appear in the "about me" section.
For now, I am itchy and want to get started. I am going to lay out a simple blog open to only you and me. I will work up an introduction of the evolution of the tensor and a section on "how to", along with the timing key for the DSTOM. Give me a couple of days and I'll have this ready for you to peruse. We can then discuss edits, your additions, and design matters.
Klaus
Agree on all accounts. Let's get this started. Stanley Kubrick and the Physical Tensor is a go.
I'll get to work on some details for a forward regarding how the term iAhuasca came to be.
LeClair
I have completed an intro for your approval. As I see it, the iAhausca forward, with your byline attched, will appear at the top, just beneath the title. I have added my byline to a part of the intro I have composed, which I really hope you like. I worked my ass of to get it right, but of course, I am open to critique. As for the rest of the tensor, I think it should all be credited to our mutal byline of "iAhausca". As yet, I have not competed the instructions, but should bet that done sometime tomorrow. As of now, the blog is viewable by ourselve alone.
I look forward to reading your intro, and to your feedback.
Klaus
Hey, just logged in. Before I ever read a word, I saw the still of Floyd and the stewardess. This is the exact still I would have chosen, and almost knew I knew I would see. A great sign.I am almost done with the forward. I'll be sending it shortly. I would like to tweek it a little, but would value your opinion of the first draft. I am finding I like the use of footnotes, something that isn't typical of blogs. Let me know your thoughts.
I like the personal nature of the first entry you posted, it really sets up the direction and goal of the blog. It also helped me to choose a tone for the forward. In all honesty, I always find your writing to be crisp and informed. "All killer, no filler" as they say. Great shot of Stanley too.
I am hesitant to use my actual name, and would prefer the use of initials WK for right now if that's fine with you.
I need to add a section I think....should finish this afternoon.
Forward by Klaus
Moving forward seven years to July 2009. Boring life still in check. I had quit drinking and smoking pot in January 2008, but recently had felt comfortable with a few drinks here and there. I was still reluctant to smoke pot again, but it was summertime, I had a few days off, and absolutely nothing to do. Inspiration came a calling, and thought it would be funny if I were to repeat the DSOTM/Oz synchronicity test, only this time, I wouldn't be cooped up in my living room, and I wouldn't be watching Oz.
The idea of it is absurd: go to a movie theater to watch a movie I had never seen before while listening to Dark Side of the Moon. Not only is it a waste of money, it felt insane, desperate, and just real real goofy. With these reasons racing through my mind, I set off walking from my apartment to the theater. I smoked a small joint, and within minutes, rediscovered the beauty of the night sky. Joy was an understatement. As I floated along, I remembered to where I was walking, and the above stated reasons seemed even more ridiculous. Just what kind of thinking would compel me to waste a beautiful night by sitting in a movie theater? And not just watching a movie, but sitting in the back with headphones on. Weirdo was an understatement. But a calmer, more rational voice thought the concept was hilarious, and gently suggested that I at least watch the first ten-fifteen minutes, and if it was as stupid and useless as it now seemed, I could simply leave the theater and enjoy the rest of the night. The only thought I wrestled with was wasting the money. But, I reminded myself, I've wasted more than eight dollars for the sake of a joke before. So it was settled. I would follow through with the plan.
As the movie ended, and the credits began, I turned my head to see nearly every row of people standing up instantly and rushing towards the door. What was the rush? Where was their energy coming from? As I was processing the last two and half hours of my life, the entire audience had already moved on, to remembering where they parked, where they were going next, and whatever else was a reasonable excuse to sprint for. Something had just happened, something more than just good pot had happened. It wasn't till more than a year later that I began to put it all together and find some answers.
iAhuasca
AYAHUASCA: a psychoactive brew used in shamanistic rituals, made with the combination of the South American jungle vine Banisteriopsis caapi and the leaves of the Psychotria viridis shrub.
A powerful hallucinogen, ayahuasca's power is only accessible through the correct balance of ingredients. The leaves of the Psychotria veridis contain DMT, which is not psychoactive when ingested orally. Only with the addition of the MAOI containing Banisteriopsis caapi can the DMT pass unmetabolized through the membranes of the small intestine, where it can eventually reach specific receptor sites of the brain.
One of the mysteries surrounding ayahuasca is its genesis. How did the indigenous people of the Amazonian rainforest happen to discover this particular combination of separate plants? Personally, I am not interested in discovering the specifics surrounding how ayahuasca was discovered. What is interesting is that although we have no certainty on how it was discovered, we are 100% certain that when this combination was ingested, the content of the experience made the recipe impossible to forget.
In "Into the Valley of Novelty Part 1", one of Terrence McKenna's many lectures available at Lorenzo Hagerty's Psychedelic Salon, he describes the focus for traditional ayahuasca ceremonies, where the shaman and the people involved get loaded on ayahuasca, and sit together as the shaman sings songs, songs that under the influence take on a visual reality. Which is to say, if you were to approach this group of people without ingesting ayahuasca, you would at first have to take a leap of faith to believe that those around you could actually see what the shaman was singing. You would have to take an ever bigger leap to something grander to believe that they were all seeing the same thing. McKenna relates that the German ethnographers who traveled to the Amazon in the early 20th century referred to the chemical in ayahuasca as "telepethine", to reflect this seemingly preposterous phenomenon.
As I had mentioned, in 2002 I synched up the Dark Side of the Moon to the Wizard of Oz, smoked a joint (or was it bong?), and waited for that magical moment when the cash register of "Money" would reveal the psychedelic wonderland of Oz. As the album and movie played simultaneously, I was immediately struck by how long it had been since i had seen or heard both DSOTM and OZ, and just how much I had forgotten about both DSOTM and Oz. As the two played, every now and then something relatively cool would synch up, but more than anything, I was impressed and entertained by the pure sound and pure vision of each respective artistic creation. Then I started to recognize as instantly enjoyable as momentary synchs were, it was the themes expressed in both DSOTM and Oz that synchronized which most intrigued me. Slowly but surely, DSOTM began to morph into a legitimate soundtrack to the film The Wizard of Oz. It was a marriage that didn't seem forced, or dependent on drugs. I erupted in laughter as the long forgotten cash registers of "Money" sounded as the doors of Dorothy's black and white world opened into the blazing rainbow colored glory of Oz. A true "money shot" as some astute person once said. As I visualized the album cover of DSOTM, I completely lost control of myself and laughed and laughed and laughed…..
So that's it, I thought. Pretty cool, pretty high, just like they said. But as the album started to finish, my curiosity, and my state of mind, compelled me to allow the album to start over again, to continue playing with the rest of the film. I figured, I have the time and I'm not going anywhere. To make a long story shorter, I ended up watching all the way through to the end of the film. Which is what I did the next day. And the day after that. Which is about the time my roommates began to wonder strange things about me. Actually, I'm pretty sure they always wondered strange things about me, but I was beginning to scare them I think. So back to video games, ESPN, and Buffy the Vampire Slayer (which one of my roommates proved to me was a great show.
In the years following, I was convinced that I had discovered something truly amazing, a phenomenon that was so much more than a stoner party trick. I had had small conversations with a variety of people concerning a variety of explanations, trying to discern if anyone could really offer any truth regarding how or why the synch seemed to work so well. The overwhelming majority conclusion is that it was further proof that people see what they want to see, and that this phenomenon would ultimately work more or less with any movie and any album and a strong desire for it to work. Since I couldn't make any progress proving that their was any intent, cosmic or mundane, in the marriage of DSOTM and Oz, I would go in the other direction, meaning, i would synch a random movie with DSOTM. This would force me to consider the majority argument that any movie or any album would deliver the same effect. (1)
So, back to that summer night of 2009. My inspiration had become action, and I would finally put to rest some nagging thoughts regarding this whole thing. Selecting the movie was easy that night. Although I never read past the first half of the first Harry Potter book, I had seen most of the films, and decided that I would go see the latest installment which had just arrived in theaters. I hadn't read the book in question, I hadn't seen the movie preview, or read a movie review. I had a general idea of who the characters were, and some sense of where the story was going, but ultimately, I would have to hope that the soundtrack and the visuals would be enough feedback to provide a story entertaining enough to keep me interested, or, I would be leaving the theater and back to the beautiful summer sky in minutes. With the iPod set up to repeat, I entered the theater and didn't leave until the credits finished rolling. Obviously, my personal experience was indeed entertaining enough to remain interested in the two and half hours of music and story. I won't get into the exact details of the synch. What I will do is focus on certain dynamics that mirror a certain psychoactive brew.
I refer to these dynamics as iAhuasca, a 21st century cousin of ayahuasca, that was discovered using different components found in the massive jungle of media that covers the planet. (2) I know that some capability of recreating this experience was possible years ago with a CD-Walkman, but the iPod offers the perfect convenience for playing an entire album seamlessly on repeat. And it lends itself to a perfectly catchy name. By combining the audio provided with iPod, with the visual provided by the projector, we transform and unlock something new, the value of which is entirely up to our own personal experience. This can be done at home, through any music source and a DVD or streaming of a movie, television show, whatever, but there are elements that can only be appreciated while in a crowded movie theater. (3) In this specific instance, the iPod playing DSOTM, and the theater providing the visual story of "Harry Potter and the Half-Blood Prince", I slowly walked out of the theater having witnessed something incredibly unique to any other person in that theater. Or did I? What if someone else had followed the exact same method, in effect, had mixed up the same ingredients, and had unbeknownst to me, been sitting on the other side of theater. Would we be so shocked to find out that we had experienced the and witnessed the same story?
The purpose of this blog is to offer proof of a hypothesis, that embedded in the films of Stanley Kubrick and the albums of Pink Floyd is a code that is made accessible through this iAhuasca method. It is our hypothesis that this code was done with intent, and is not the product of circumstance, synchronicity, or marijuana.(4)
(1) Let me try to explain something first, the idea of sitting down to watch a movie with no sound, with no subtitles, with a separate album filling in as the soundtrack is very low on the list for a good time. You have to be very bored, very lonely, or, yes, very stoned to rationalize this activity as "something to do". Which is why actually following through with this activity is an admission to one's own boredom, loneliness, or devotion to marijuana. Which is why I never really got around to much actual testing of the experience, because I would force myself to find something else to occupy my time.
(2) Certain combinations of this electronic brew have already been advertised and utilized for decades, combinations that have powerful effects on their own, which subtly guided me towards my own recipe. William S. Burroughs with his "cut-up" techniques. "Mad Movies", a show I saw maybe three or four times as a child, where new dialogue was overdubbed on old movies. "Paul's Boutique" by the Beastie Boys and the Dust Brothers, a 1980's masterpiece of sampling. Obviously, the urban legend/stoner magic of DSOTM and Oz. There are countless examples of media manipulation by people designed to create new experiences out of pre-existing material. This is exactly how I envision the indigenous people of the Amazon mixing, combining, and consuming the plant life of the jungle that covered their world. Trial and error, and with only pure experience as the final judgement of the value of each new discovery.
3) For example, one must experience the thrill of hearing the alarm clocks of "Time" ring out in a crowded theater at a crucial moment, and grapple with the realization that no one else can hear or understand the moment you are experiencing. Just as the people involved in the ayahuasca ceremony are the only ones who can actually see the colors of the songs of the shaman, you will be in a completely new and utterly unique reality.
(4) Is marijuana necessary? I don't think so, as I have taken in most of the Tensor while sober. I will say that marijuana, for some people, provides a state of mind that provides a kind of patience and willingness necessary to dive in.
LeClair
Yeah, WK is fine with me, although I admit I am a wee bit curious why you desire anonymity. But it's all good.
Footnotes can get complicated to format, but it can be done, by using an off page link to store the notes.
I look forward to reading your forward. In the meantime, I am going to start working on the hard data for the first "suite" of DSOTM. This will include all plays in all movies of the tracks Speak To Me/Breathe and On the Run.
I have divided each album into these "suites". There are four total suites for DSOTM and The Wall and three suite for Meddle. I'll explain the divisions as we go along. I am going to be away for the next few hours, so don't worry if I don't respond to your forward right away. I'll give it a read this afternoon--evening at the latest.
My date bailed on me today, and so I had time to read your forward. There are quite a few problems. Many, many repeated phrases, disorganization, doubled information and ellipses. There is also just a little too much extraneous info and personal reflection, which detracts from the direction of the piece, and the project in general.
I have done an edit that is up on the blog for you to look at. Being edited can be a bit intimidating, but all the good writers have to face it eventually.
I general, I would like to say that while you have a nice turn of a phrase, you need some practice organizing data. The trouble is common. It is difficult to trust the reader, which leads to overly dense writing and repetition.
I have preserved about all of the key data and done very little or nothing to alter your basic style. Let me know what you think.
Klaus
True, I have been editing all afternoon, and doing a lot of cringing. I will review your edits, and send over my current copy.
Completely reasonable and a quality edit. I am happy with it as it stands. Forward he cried!
Finally sitting down to watch the films side by side. This is honestly starting to freak me out. The Twins/Models "you saved me once" "open your eyes Danny" Jesus man. I'm starting to really believe.
LeClair
I have some troubles I must express that emerge from our discussion and from my reaction to your essay, which you have indicated is unfinished. I will outline my three concerns and then propose a tough solution.
1. Philosophy
You seem very concerned with the psychology and philosophy of tribal shamanism and the many what-nots of feel-good subject matter that emerge from it. It permeates much of what you discuss. You seem to wish to promote the personal side of the experience, which in itself, has nothing to do with the project as I see it. I do not invalidate the nature of your experience, only its value to this endeavor.
2. Inconsistency
On several occasion you exhibit a disturbing habit of changing your mood and the direction of your own words. You say you want me to take the lead, but you frequently pose strictures. You exclaim "forward he cried", and then turn heels to tell me there is more essay material yet to come. Moreover, these communications are delivered passively. I do not tolerate passive communication. It makes me uneasy and unhappy.
3. Saturn
This is most critical--Saturn is at the very center of the mystery. Today I discovered a Saturn symbol that proves a fantastic connection to The Shining. Normally, I would want to share this research right away. But you have given the cold shoulder on the entire matter, and exhibited your disdain, and again in the passive mode.
Under these conditions, I do not see how we can continue, but I am willing to consider the following guidelines.
First, the iAhasca essay will be removed. As I have stated, it does nothing to forward the matter at hand, at least as I see it.
Second, I will maintain control of the publishing, and publish according to my own schedule. The blog will be public.
Third, you will be consulted and credited (by what ever name you choose) as valued research assistant. I will be credited a sole author.
Finally, I will edit the end of the tensor essay to more properly reflect your actually contribution to the discovery process thus far. I the last paragraph of that essay, I exaggerated your input. I did this, as I have done several times in our mails, as an act of friendship. At this point you have failed to recapitulate that friendship.
I wouldn't be surprised if you told me to fuck off and die. I do not wish to cause you any distress, but I simply can not continue the blog or our discussion until these matters are resolved.
I hope to hear from you soon.
Klaus
I agree with 90% of your concerns, though I disagree with the terms "passive" or "cold shoulder". I really hope that your read on this is due to the distance and method of our communication.
I have tried to communicate the amateur nature of my skills when it comes to the professional level of your work. I had been expecting this crossroads eventually, but had hoped to maybe fake it til I made it. I was truly flattered at your invitation to enter this project as an equal, but as we both can discern, is just not true. My involvement is most beneficial to the project as research assistant, and I would still be honored to participate in this capacity.
I don't know how I have failed in the friendship department, for that I plead ignorance. I had hoped that I had gained you're trust about my dedication. If I've failed, I can only attempt to prove you wrong as we progress.
Please respond as soon as possible so that this issue can find resolution, and we can move forward.
Quick note: the last email I sent regarding edits was this :
"Completely reasonable and a quality edit. I am happy with it as it stands. Forward he cried!"
The email I sent BEFORE that one said :
"True, I have been editing all afternoon, and doing a lot of cringing. I will review your edits, and send over my current copy."
If these were received in reverse order, I can completely understand the confusion.
LeClair
Wow Bill, I am really glad to hear you say that. You exhibit admirable maturity. If you think you can accept my other terms, I really want to continue this with you, as a fully credited partner.
Regarding the nature of our friendship and of the passive tone, I am not at all angry, just befuddled. This may be attributed to the difficult of talk through writing, which allows for misconstrual far too easily . It is all good, and I hope we move onward together.
Klaus
For the sake of the project, you should receive full credit as Author. It is your writing that brings this material to life. My involvement in the road to discovery has already been given credit in the blog. This is enough for WK right now. I am confident that you are an honorable man, and any and all input I provide will naturally be credited as it should.
LeClair
Great, but I would still want to give you full credit, as your input will be very valuable. Being a writer, as much as I love it, doesn't mean shit to me. Our partnership means much more.
I just sent you an email. If you agree to what is stated, I want to move ahead.
Klaus
Ego in check, ready to rock n roll.
I accept your terms, and look forward to seeing how far this goes.
LeClair
First I want to ask you quick favor. From now on, can we keep our research discussion in THIS THREAD ONLY. It'll make it so much easier to sort out.
Here is the new Saturn data and it is a bomb shell.
Consider the image the flag of Colorado. Notices how the "C'" shows a smaller circle inside of the "C", and thus the "C" is an incomplete "ring". When Danny is in the games room, the open part of the "C" points to the floor, because the flag is hanging like a penant. The open part of the "C" will line up with Danny's head. I had always thought this connected to the phrase "the sun holds the morning in its mouth".
Well check out this short video. As you watch it, keep in mind the "Cubs" is a play on words for "Cube". Consider also the "monolithic" Sears Tower. Watch the whole video.
Mark
http://www.crwflags.com/fotw/flags/us-co.html
http://www.youtube.com/watch?v=bZowJ2oOSqs
Klaus
As I was watching EWS with The Shining this morning, I focused in on the Colorado Flag, and pondered the possible reasons for it's placement, as well as why does the lady on the intercom in DSOTM mention the flight from Colorado Fields to Rome. I also remebered how I always thought Danny had a Cubs jacket on due to the color scheme, the Cubs being famous for being Cursed, a curse related to a goat.
Also, co-author of the EWS screenplay, Frederic Raphael "was born in Chicago, Illinois, the son of Irene Rose (née Mauser) and Cedric Michael Raphael, an employee of the Shell Oil Co.[1] With his parents, he emigrated to Putney, England in 1938".
This guy is also the author of a book called The Necessity of Anti-Semetism.
LeClair
Very interesting data. I think I may need to read Raphael's book on the production of Eyes Wide Shut.
In the meantime I have edited the blog to reflect our renewed partnership and also written instruction on how to run the tensor. There is also a complete table of timings for the DSOTM part of the tensor.
Here is how I would like to proceed. We'll keep the discussion between us for now, until we have finished at least one chapter.
I would like the first chapter to focus on what I have called "Suite 1" in the tensor instructions on the blog. This consists of all plays in all movies of the combo of "Speak To Me Breath" and "On the Run".
I would like to take two or three days to work on this. And you can do the same. Please drop a line if you find anything interesting and I will do likewise. This should stimulate our combined vision. After a few days I will work up a post on our discussion which you can than read and give me any further research for addition. After we have this chapter up, I hope in a week at most, we can invite a select group to read the blog. When a few more chapters are up, we can decide if we want to open the blog to the public.
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