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This video was created by Jason Silva and shot and edited with my friends at Bravo Media, and is non-commercial and for educational and inspirational purposes only. Full credits and clip attributions can be found below. This video was inspired by three big ideas:
1) The ideas of psychologist Nicholas Humphrey who has written of "THE BIOLOGICAL ADVANTAGE OF BEING AWESTRUCK". Basically, our ability to awe was biologically selected for by evolution because it imbues our lives with sense of cosmic significance that has resulted in a species that works harder not just to survive but to flourish and thrive...
"Humphrey refers to consciousness as a magic show that you stage for yourself inside your head, which lights up the world and makes you feel special and transcendent... this magical theater provides a reason to live, a love of occupying the present moment, and a desire to sustain it into the future, that over time has proved stronger than anything else, and accounts for humanity’s swift and triumphant success--
Humphrey says “being enchanted by the magic of experience, rather than being just an aid to survival, provides an essential incentive to survive.”
"We relish just being here. We feel “the yen to confirm and renew, in small ways or large, our own occupancy of the present moment, to go deeper, to extend it, to revel in being there, and when we have the skill, to celebrate it in words..”
Our desire to understand brings exquisite pleasure... and feeds our exploratory voyage, our scientific inquiry, our technological development, and even our poetic self-regard..
3) Ross Andersen's rapturous meditation on the ontological awakening of our psyches provided by the Hubble Space Telescope: "At first glancing the Deep FIELD “one might mistake it for gemstones scattered across black velvet, but a closer look reveals that each smudge of light, 2,600 in all, is a galaxy dense with billions of star-fired worlds, pinwheeling in deep time. … To that point, astronomy had imaged objects only four billion light years away, and poorly at that. Here a telescope reached 11 and a half billion light years into space and delivered an image legible to the layman: an unprecedented expansion of human vision."
**Music by John Murphy - "Kaneda's Death Pt 2" from Sunshine Soundtrack
**Featuring Stock Footage from Shutterstock
Still images courtesy of THE IMAGINARY FOUNDATION - http://www.imaginaryfoundation.com/
And clips from Knate Myers' "ISS at Night" featuring NASA images: vimeo.com/45878034
Camera: Liam O' Sullivan
Edited by Jess Betz and Jason Silva
Shot and edited at BRAVO MEDIA - http://bravomediainc.com/
The basic idea of the project is built upon the consideration of creating
a moving sculpture from the recorded motion data of a real person. For
our work we asked a dancer to visualize a musical piece (Kreukeltape by
Machinenfabriek) as closely as possible by movements of her body. She was
recorded by three depth cameras (Kinect), in which the intersection of the
images was later put together to a three-dimensional volume (3d point cloud),
so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the
digital camera, without limitations of the perspective. The camera also reacts
to the sound and supports the physical imitation of the musical piece by the
performer. She moves to a noise field, where a simple modification of the
random seed can consistently create new versions of the video, each offering
a different composition of the recorded performance. The multi-dimensionality
of the sound sculpture is already contained in every movement of the dancer,
as the camera footage allows any imaginable perspective.
The body â€“ constant and indefinite at the same time â€“ â€œburstsâ€ the space
already with its mere physicality, creating a first distinction between the self
and its environment. Only the body movements create a reference to the
otherwise invisible space, much like the dots bounce on the ground to give it
a physical dimension. Thus, the sound-dance constellation in the video does
not only simulate a purely virtual space. The complex dynamics of the body
movements is also strongly self-referential. With the complex quasi-static,
inconsistent forms the body is â€œpaintingâ€, a new reality space emerges whose
simulated aesthetics goes far beyond numerical codes.