Tension, Words and Incorporation of Oppression

I´m watching Michael Winterbottom movies theses days.
I have never seen such a softness in showing such harsh realities.
It makes feel it, it´s accessable for the information-overload type of western consumer as well as for anybody else.
The camera movements are very lively, without any attempt in being sensational.
There is no need for it anyway, because the pictures he presents are so direct.
Changes of standcam, handcam, camera turns, panorama views, close-ups and their relation to the moves in the picture, people, animals, cars... are extremely organic. The observer seems to be part of the scene, still or moving.

In unpretentious ways the pictures themselves are very well framed, aesthetic without aestheticism.

I´m thinking about what a person can move in this world. How get along with the knowledge of what happens outside, and the knowledge that all of what happens is motivated from correlations of people´s inside.
Those who live in the peace-zones, are they already peaceful enough, the culturalists of our times, peaceful enough to forget themselves and go out and report what kind of cruelty goes on in the world, reporting in ways that the journalists usually don´t have the format for?

I don´t draw such a strict line between the reporters of the various medias, as I include all communication into the media: written word, film, spoken word, art, ..., all is processing connectivity.
I´d be going to change people´s conscious about what is media.
I see the thoughtless thought that leads the hand to reach out for the cup of coffee as a medium.
The thought, it wants something, and one can check what lies behind it, at some assumed end of motivation networks, and check also if thoughts overload their own matter with too much chatter.

It is a bit like the money spent on filters within chimneys of industrial plants in the western countries. There are voices who complain that the investment would be more efficient if located in other countries´ plants, as in Germany it is only about filtering a few percents more, whereas abroad there might not be any filters used.
Others say that this is the mechanism of research, the development of the better and best device in its field.

Anyway the comparison lacks of evidence, as the person itself that creates a joint of content in a media form, carries the similar structure of organism like the addressed.
So the production of the cultural process, the cultural good, always transports its makers´ characteristics in quite a subtle way.
So changes of the person of the producer change the product in significant ways.

Then there is intiution.

Media is abstraction. It links people, and it can also overcome the splits within a person, a sender, because media itself entails form.
The in-formation is transported in various formats, some of which the producer is aware of, some of which he isn´t.
Of course the choice of format represents the senders´ state of organism, the organic process as a person and its environment, the cultural context.
The person of the sender, in the abstraction of the form used, can seem to disappear within the sending#s effect as noted consciously by the recipient.
But it still is there, in the choice of theme, material used, and all compositorial relations entailed in the assumed work.
The recipient, though, cannot completely divide the senders´ reality from the sender´s desires.
The medium might not tell about it.
That´s where interpretation starts, and anybody discussing or caring at all is already inside the
mirror-games that in-form him or her, that show various layers and networks of human organism and its interchange with environment.

There was a doc telling me, that there are ways of doing too much work on balance with one´s own organism, referring to yoga, meditation, breathing exercises.
He said I could loose the artist will of expression by it, and I found he was right.
In my character and life I found reason to do a lot of work in this direction though.
I´m a singer, and singing has a lot more to do with balance than with power, especially when the respective voice is powerful indeed.
This has to to with the fine overtones within the voice. They are the power we lately feel through ears and the whole of our organism as we – intuitively – associate with voices.

Strained voices will not only not last long, because the instrument gets hurt, and they also won´t be training neither a very flexible or subtle swing.
But they carry a quality of their own. They are rather likely to show roughness than an opera singer who sings about roughness, but can show it only in the correlation the art-form´s scales, as traditioned, and as being enabled by the used material.
The requirement of reaching the audience above an orchestra already evokes the production of overtones and therefore of a very fine balance producing it.
Expression, in these means, can rather take place in the correlation of meaning than in a lifelike appearance.
This is one reason why many people can accept opera as a beautiful art, but cannot adapt the meaning to the organism´s appearance on stage, because the art form forces to accept its own measurements.
Hence, abstraction in this context can be seen as a direct process of dissociation, here in the means of implanting processes of tension, programmaticly shifted into artificial relations.
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The tension of a stiffly strained voice is less flexible than a voice processed in a balance of contractions and releases, and, like bridges do it in the much slower frequencies of the climate changes, it bursts, when will of the constructor or vocalist hasn´t included space for the voice or the bridge to range, instead foring it into stiff frames.

The acknowledgement of physics in any cultural expression are potential scales of measure.
They show matters of evidences, they show effects, and humans are about to
first distinct the most various consequences in all means of organic awareness,
second to take decisions in the face of the awareness,
third sign responsible for it,
of which the latter is a delayed observation of the decisions´ effects.

When I look at Michael Winterbottom´s films I see clear decisions for the confrontation with
humans´ decisions and awareness on the organic effects, the technical realization has on the
spectator.
Responsibility means to cover for the most subtle kind of consequences of one´s own
doing, at least in letting oneself be confronted with it.
The sender, though, is not responsible for people who jump from a building when thinking the
alien attack in the programme is a real one.


Why now is this little article about “tension” when it does not present a continous line in approaching the theme, directly diving into it, developing a thesis in its context-contest with antitheses or some other model of choice, reflecting the will to present a fitting circle of evidences?
Because the fitting circle of evidence itself has a flashback on the theme it presumes to represent.
This is why analytic essays on “love” can be really funny.
This is also, because this article´s aim is not to present a theses that has a final verification as a picturesque result, as well as coordinates in space are not the space itself but the description of it, as they don´t even have a volume themselves.

Openness is a quality that need not stop readers from connecting themselves to thoughts presented.
Closed circle thoughts can feel like imprisonment.
The incorporated feeling of imprisonment is inflexible motivity.
One of the hints this article can show is, to take care of the physical results a media, incl. Art etc., implies for the recipient.
To take this into account, of course, sets high demands on the sender´s/producer´s/artist´s awareness of his or her own organism´s relationship with the work, namely, which tensional correlation it implies.
Beuys statement of everybody being an artist also, in this sense, entails the claim of each person being responsible for the development of awareness about the meaning of a medium, when being confronted with the direct experience of the relation of the organism towards its output.
In this context we enter the claim of people to become aware of the incorporate alienation within passivity.
Like Winterbottom´s films this is not only a proclamation of rights to be received, such as opportunity to be introduced into processes as mentioned above, but of the responsibility awaking when entering the field of awareness and it´s potential of intervention ---
being felt instantaneously in the organisms processed highly complex tension.

Fear results in tension, reflexes of defense, bending muscles to make smaller the organism´s outer surface, reducing vulnerabiltiy. From repetition results stiff tension
Any activity in opening up the organism, reducing stiff tension is an intrusion in the vicious circles of fear, vicious, as the stiff tension is matter of it´s own cause.