UnScene:The Way I C IT: OUR MINDS:CHANGING TO MECHANICA, SURREALISM AND VIOLENCE

The Way I C It,

Our Minds Have Quickly Become Adjusted To Mechanica Violence And Surrealism.

Posted below are some pieces by artist, Bryn Oh in Second Life accompanied by my avatar.

Followed by,

VIOLET and DAISY

Ichi the Killer

Here is a surrealist visual interpretation of Michelangelo's "David".

The mixed media, wood, metal, glass, gears, bolts and pistons are constructed with neon lighting.

San Francisco avant-metal alchemists Nero Order fuse elephantine rhythms with expansive, tragic melodies and moody, severe vocals - effectively concocting a sound that is simultaneously abrasive and consonant, dynamic and cacophonous; academic in scope and violent in delivery.

Keith Kamholtz's graduate thesis, 'Surrogate Mechanica', is a 1-minute commercial for a robot designed to carry a developing human baby in its transparent mechanical womb. This, of course, spares a couple the pain, hardship, and risk of carrying and delivering the child. This sort of technology could also potentially allow infertile couples and/or same-sex partners to have a family as well. It may be rather far-fetched, but hey, you never know!

http://keithdigital.com/thesis.php

KEITH KAMHOLTZ

The Early Modern Era of revenge drama can essentially be boiled down to key components, a chain of events that build around a core of recurring themes and archetypes. The setting is always a place full of corruption, especially from self-serving leaders: they are vice-filled; sometimes a touch unhinged, and unbound by their power, be it inherited or stolen. These villains harm others with a reckless passion and then move onto the next helpless, innocent victim. Inevitably, one of those victims get overcome with a spirit of vengeance that leads to an assault on the very villains that have been too powerful to previously confront. But, in turn, the very corruption that these heroes have faced warps their sense of justice to turn them into twisted versions of their previous virtuous selves.

This is a revenger. Batman meets many of these qualities, but he is also very different: he meets many of these components but fails to go over the line somehow. He is every bit a modern Revenger, from origin to setting to many of his stories, but in a way he has evolved from the roles of the early revenger and has created a new image of the revenger hero. His fight isn’t solely against the darkness of the world around him, but also the darkness within. And so, I would say, that Batman is the modern product of Revenge drama themes, a man against the law but not against his morals.

CIRQUE du SOLEIL- ALEGRIA

STAR LORD

FARSCAPE SEASON 2

GUARDIANS OF THE GALAXY

THIS UK COMMERCIAL IS PRETTY WEIRD

63336 - 'We Evil...'

In March 2010 a ridiculously over the top with its Freemasonry/Illuminati connotations advertising campaign for a company named 63336, shows the people proudly displaying the mark 63336 tattooed onto their chest or other body part, with obvious clear reference to 666 the mark of the beast. The TV advert is full of Freemasonry and Illuminati symbolism, and even forms part of the company’s logo.

It’s well known, that the drinks industry is run by an elite group of Freemasons, and also in 2010, Heineken the makers of Strongbow Cider – blatantly included their allegiance to Freemasonry, in a impressive advertisement more reminiscent to a scene out of Triumph of the Will, a propaganda film made by Leni Riefenstahl, which chronicles the 1934 Nazi Party Congress known as the Nuremberg Rally which was attended by more than 30,000 Nazi supporters.

MADONNA SUPER BOWL ENTRANCE WINGS

2012 Olympics Opening Ceremony

The initial “Green and Pleasant Land” of London's Theme for the opening ceremony was quickly deconstructed by rhythmic drumming and scenes which resembled a “Borg assimilation” of the landscape. As suited representations of the elite surveyed the scene with pride, the tree placed upon the Glastonbury Tor mock-up was uprooted to allow a flood of industrial workers to ascend from the underworld. It was nothing short of a destruction of nature and tranquillity, delivered with pomp and circumstance. As Kenneth Branagh stood on a platform surrounded by 9 columns of light, great industrial towers rose above the spectacle – reminding me of scenes from the John Hurt version of Orwell’s 1984.