Sent: Monday, September 03, 2018 1:28 PM
Subject: Metropolis - Butoh & AI 2010 RE: Man-Machine handshake in propaganda as script for AI domination deployment - domination - ViFrU Ellul colloquy 180902
Metropolis - Butoh & AI 2010 RE: Man-Machine handshake in propaganda as script for AI domination deployment - domination - ViFrU Ellul colloquy 180902
p~j~, l~s~ et al:
Bcc.: M.F.T. – ViFrU Think Tank
The Babylon machine (AI) must have a “pretty face”, like “Maria!!!” in Metropolis ( Motivational Research – Psychological Warfare, C3I = Command Control Counter Insurgency = Internet & Media (Power) Addictions ) i.e.: Brave New World
( Huxley’s thesis was homogenized and then cloned from the source: S.P.R. Charter)
and what we are not doing about it
i.e.: CANARIE and A.I. ethics without ethicists?
Ultimately –ZPG is the only peaceful neutralization of the machine that cannibalizes, the physical and psychological human hive, to sustain itself and must indoctrinate breeders to keep doing so.
Note the gothic religion/state v. proletariat scene on the steps of the Cathedral, reminiscent of Tawney’s Religion and the Rise of Capitalism
I am indebted to the tutorship from Will Mutch ( “Zip” ) for the insights to interpret the hidden (encrypted) meanings of the heretical “underground stream”, in the mime / commedia dell’ arte ( Geisha) systems , cloned in early cinema / comedy and comics.
His passing on…the timely quotes from i.e.: Krazy Kat… the BDSM game (mouse v. fascist state)
Kat: “He Luff’s Me”
and many other gems of the vaudevillian Kabbalistic (Buddhist) oral tradition. e.: “ cops need the robbers and the robbers need the cops “ (Assassination of the Kennedys $ M.L. King)
… “Yah gotts tu larfs ta keeps frum cryin’ ” i.e.: 12 Step programs
Again the women philosophers of the 20th CE shine above the male … Sanger, Weil and in this case Thea von Harbou …
You probably have the complete Metropolis 2010 version at OCADU / Robarts, if not it should be there for the newbies studying media ethics (note the grainy cut scenes) … I wonder if our “What is Nada” collection that we donated to the OCADU Visual Resources 30 years ago is still there?
Here is the link for TPL :
Due to censorship of our communications we are unable to upload the version to the cloud …it is now available via our ViFrU library server on loan for members “by appointment only”
…alternatively the pirate torrent/magnet info cc. highlighted magnet to FreeDownLoadManager if you have VPN:
I published this cartoon in my Media Free Times Vol. 2 No. 1 1975 …it a came to mind today when I was thinking about how to reply with my views on the “soft sell” approach to social change, in the rhetoric of “free speech” that we, as a democratic society, presumably cherish so dearly.
AI and UNESCO teaches the breeders moral code via the 3R’s: “Increase and multiply” :
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original 1927 theatrical release poster
is a 1927 directed by . Written by , with collaboration from Lang himself, it starred , , and . produced it in the for (Ufa). The is regarded as a pioneering work of the genre in , being among the first movies of the genre. Filming took place over 17 months in 1925–26 at a cost of over five million .
Made in Germany during the , is set in a futuristic urban and follows the attempts of Freder, the wealthy son of the city's master, and Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes of their city, and bring the workers together with Joh Fredersen, the master of the city. The film's message is encompassed in the final : "The Mediator Between the Head and the Hands Must Be the Heart".0.
was met with a mixed reception upon release. Critics found it pictorially beautiful and visually powerful—the film's art direction by , and Kurt Vollbrecht draws influence from , and design, along with touches of the in the scenes in the , the and Rotwang's house —and lauded its complex special effects, but accused its story of naiveté. described the film as "silly", and calls the film's story "trite" and its politics "ludicrously simplistic". The film's alleged Communist message was also criticized.
The film's extensive running time also came in for criticism, and was cut substantially after its German premiere, removing a large portion of Lang's original footage. Numerous attempts have been made to restore the film since the 1970s. Music producer released a truncated version with a soundtrack by rock artists such as , and in 1984. A new reconstruction of was shown at the in 2001. In 2008, a damaged print of Lang's original cut of the film was found in a museum in . After a long restoration process that required additional materials provided by a print from , the film was 95% restored and shown on large screens in and simultaneously on 12 February 2010.
In the future, in the city of Metropolis, wealthy and and their top employees reign from high-rise towers, while underground-dwelling workers toil to operate the great machines that power the city. Joh Fredersen is the city's master. His son Freder idles away his time at sports and in a pleasure garden, but is interrupted by the arrival of a young woman named Maria, who has brought a group of workers' children to witness the lifestyle of their rich "brothers". Maria and the children are ushered away, but Freder, fascinated, goes to the lower levels to find her. On the machine levels he witnesses the explosion of a huge machine that kills and injures numerous workers. Freder has a hallucination that the machine is , and the workers are being fed to it. When the hallucination ends and he sees the dead workers being carried away on stretchers, he hurries to tell his father about the accident; Fredersen asks his assistant, Josaphat, why he learned of the explosion from his son, and not from him.
Grot, foreman of the Heart Machine, brings to Fredersen secret maps found on the dead workers. Fredersen again asks Josaphat why he did not learn of the maps from him, and fires him. Freder secretly rebels against Fredersen by deciding to help the workers, after seeing his father's cold indifference towards the harsh conditions they face.
Fredersen takes the maps to the inventor to learn their meaning. Rotwang had been in love with a woman named Hel, who left him to marry Fredersen and later died giving birth to Freder. Rotwang shows Fredersen a robot he has built to "resurrect" Hel. The maps show a network of catacombs beneath Metropolis, and the two men go to investigate. They eavesdrop on a gathering of workers, including Freder. Maria addresses them, prophesying the arrival of a mediator who can bring the working and ruling classes together. Freder believes that he could fill the role and declares his love for Maria. Fredersen orders Rotwang to give Maria's likeness to the robot so that it can ruin her reputation among the workers to prevent any rebellion. Fredersen is unaware that Rotwang plans to use the robot to kill Freder and take over Metropolis. Rotwang kidnaps Maria, transfers her likeness to the robot and sends her to Fredersen. Freder finds the two embracing and, believing it is the real Maria, falls into a prolonged delirium. Intercut with his hallucinations, the false Maria unleashes chaos throughout Metropolis, driving men to murder and stirring dissent amongst the workers.
Freder recovers and returns to the catacombs. Finding the false Maria urging the workers to rise up and destroy the machines, Freder accuses her of not being the real Maria. The workers follow the false Maria from their city to the machine rooms, leaving their children behind. They destroy the Heart Machine, which causes the workers' city below to flood. The real Maria, having escaped from Rotwang's house, rescues the children with the help of Freder. Grot berates the celebrating workers for abandoning their children in the flooded city. Believing their children to be dead, the hysterical workers capture the false Maria and burn her at the stake. A horrified Freder watches, not understanding the deception until the fire reveals her to be a robot. Rotwang is delusional, seeing the real Maria as his lost Hel, and he chases her to the roof of the cathedral, pursued by Freder. The two men fight as Fredersen and the workers watch from the street. Rotwang falls to his death. Freder fulfills his role as mediator by linking the hands of Fredersen and Grot to bring them together.
Nazi propagandist was impressed with the film's message of social justice. In a 1928 speech he declared that "the political bourgeoisie is about to leave the stage of history. In its place advance the oppressed producers of the head and hand, the forces of Labor, to begin their historical mission". Shortly after the Nazis came to power, Goebbels told Lang that, on the basis of their seeing together years before, Hitler had said then that he wanted Lang to make Nazi films.
Internationally, German cultural critic later wrote of that "The Americans relished its technical excellence; the English remained aloof; the French were stirred by a film which seemed to them a blend of [composer] and [armaments manufacturer] , and on the whole an alarming sign of Germany's vitality."