Project Notebook

 

Project Notebook
Mission Statement

Teach with your heart, not your mind.

 

Project Notebook is your new pen and paper. It is designed for students entering university and explores methods in which film could be utilised to exponentially enhance one's learning capabilities. The website software combined with a portable camera and the texts explored throughout the course equip our coming generations with all that is required to take their studies, and as a result their species, to the next level. So go ahead. Create your character and start levelling up. I promise you that this is the healthiest MMORPG a student could ever play which will in turn make their studies “piss easy”… Welcome to Project Notebook.

Project Notebook is an electronic augmented reality designed to integrate our digital pathways of communication into both our individual and collective cognitive functionality.

Project Notebook is a dramaturgical investigation into the potential capabilities of film to exponentially enhance a student’s learning capacity. (D‘Olimpio, p. 622) The project consists of twelve “Chapters”, each between 49 and 62 minutes in length, concluding with an essay which accommodates each video within the instruction manual which is categorised as follows:

Chapter 1: Introduction to Enlightenment
Chapter 2: Turing Test for Humans
Chapter 3: The Looking Glass
Chapter 4: Elementary Dear Watson
Chapter 5: Us Philosophy Kids
Chapter 6: Pedagogy of Education
Chapter 7: Own Your Psychology
Chapter 8: Never Gonna Stop
Chapter 9: Carpe Diem
Chapter 10: Taming the Beast
Chapter 11: Open Source Revolution
Chapter 12: Download Tabularasa


The entire project is designed as a template which others can use to create their own. Tabularasa is its neurological interface and is released open source. The instruction manual is comprehensive and is philosophically and scientifically developed and demonstrated. The project begins with its hypothesis, the experiment plays out and afterwards the experience is accounted for, all on camera. The purpose of this project is to equip students with all in which they would require in order to shine as an outstanding student.

Although this project exists independently of what it proposes, its intentions are to be directly applied to a university’s student council. The proposed positions are for one male and one female student who utilise this type of education method to be elected to represent its future potential for the institution’s students. I have invested much thought into how these roles and their funding could play out, however I think a barebones approach would be most useful to launch. A $10,000AUD per annum part-time salary for running a stall in orientation weeks as well as occasional promotional education and training events. The new member of the council would be required to help see this technology’s new world-changing discoveries to its practical fruition.

But the minimalist approach is not the target of this proposal. What I can show you is how successful something like this can become even with a meagre $30,000AUD per annum budget: $20,000 on salaries and $10,000 for its activity. The project’s intentions would be to prove its worth to the point that the more funding that is allocated to it, the more miracles can be performed with it. Both male and female positions would ultimately be best suited as full-time roles, the only limits to the project’s scope being what we impose upon it.

I have discovered a new field of practice which has exponential future capabilities. I did research into what would be required into proposing a new field of practice into a university’s academic infrastructure, however, many years of contemplation and research into this subject has led me to propose this to the student guild instead of proposing a new school to be implemented into the academic superstructures of Murdoch University. Because how we position the foundations of a revolutionary new technology will ultimately affect the future capabilities it can provide. And this technology has been created by students and for students. If we give this technology to our students, administered by and through the students, then its future potential excludes the bureaucratic regulated environments in which the systems of the academic hierarchy incur. Our future students will teach our future students to in time remove the greatest of all conflicts of interest: a teacher who is financially rewarded for the distribution of knowledge, also known as sophism. (Plato, ~399BCE, 20b) Because the situation changes when one teaches because they are so passionate about the subjects that they could do nothing else in life. And when they teach online to assist their own studies they both build their new career as well as solidify their comprehension of the subjects in which they explore while also making their discoveries publicly available.

An undergraduate degree is both limited and basic. Each essay question is framed without consideration of the direction of the student: the student is led and is refused the ability to lead. The bright student will learn how to frame the essay questions to argue their own ideologies by using the thoughts of others to speak for them. However, this very practice is frowned upon because the undergraduate is expected to not yet be capable of free thought: instead encouraged to become masters of regurgitation, excluding their very self from the content explored, as if knowledge could be transferred hierarchically. (Freire, 1970, p. 79) These practices do damages within the student body, specifically to students who are very different from their peers: the black swans, or as I like to call them, geniuses. The undergraduate program provides no liberty to excel: the thoughts of the student are not enabled to be academically represented, researched, and further explored UNTIL they are able to work through the systems enough in order to find or create an appropriate post graduate course, and that is considering that they obtained high enough grades to be admitted into their preferred course. This also enforces an “academic standard” upon its students which some psychology’s struggle to produce, denoting that those who think differently from mainstream infrastructures produce lower quality content because of the subjective marks in which the assessors were systematically trained to measure: those who utilise innovative new measuring devices are excluded from academic success. This means that at least approximately five years in university is required to be endured for the student to begin the focus in which is closest to their heart and ultimately the entire reason in which they study at university. For our tutors have no ability to measure the quality of output data when that output data utilises a measuring system unknown to them. But now the students hold all the power because the new measuring device will be the one who is elected by their peers to represent their own needs: that is if Murdoch does its moral obligation by saying “YES PLEASE” to this proposition.

The capacity for film to be utilised as an academic medium into exploring topics is endless. (Postman, 2005, tautological) To discount a video production by not recognising it as an academic work is to reject the future potential of film. Because when we align our senses to enhance our own learning capabilities through the use of explored texts in which our own voices read aloud, our interpretations relived every time we watch them, our ability to look at past objective facts in order to come to accurate conclusions about the future, etcetera… I can throw out example after example of how one could use a camera to go beyond the limits of their own internalised psychology, however, I can only ever reflect my own experiences of its techniques. I am just a weird guy holding a portable camera asking myself what I can make from it. Its possibilities lies outside of my own hands and even my own words. I just experimented with countless techniques and created approximately 300 hours of quality film productions (and rising!). But I am only one person with one particular world view, albeit an alternative one. A camera in my hand and a camera in your hand are two different situations. What you can make film is different from what I can make film because our intentionality (what drives our actions) are different. This is why I say that I have only barely touched the surface of this type of education and I want to be involved in its future. Because it has a future that will long outlive my own: the moment I die our civilisation would have still only touched the surface on how this technology could be most effectively utilised regardless of how much manpower is invested into its fruition. Finally! A proven methodology which scientifically demonstrates tautologically why such investments would be not only highly beneficial for the future of the human species but vital to its evolutional development.

Project Notebook is your new pen and paper. It is designed for students entering university and explores methods in which film could be utilised to exponentially enhance one's learning capabilities. The website software combined with a portable camera and the texts explored throughout the course equip our coming generations with all that is required to take their studies, and as a result their species, to the next level. So go ahead. Create your character and start levelling up. I promise you that this is the healthiest MMORPG a student could ever play which will in turn make their studies “piss easy”… Welcome to Project Notebook. Now go claim your new notebook at projectnotebook.org. I look forward to seeing what you can make film and how you can utilise it to maximise the potential of your education while entertaining me into your own field of practice. (Kant, 1784, tautological)

“The only way in which we can react against the disapproval of the entire community is by setting up a higher sort of community which in a certain sense out-votes the one we find… he may stand out by himself over against it. But to do that he has to comprehend the voices of the past and future. That is the only way the self can get a voice which is more than the voice of the community.”
(Mead, 1934, 21.8)

“With such power comes great responsibility, and we must carefully consider how such involvements could result. We are nearing the end of our poisoned fruit and the future of our species’ quality and longevity will come into question. The collective result of our answers to our problems will determine the possibility of continued existence. Judgement day will come upon us and we will have to pay for the consequences of our actions. Evolution will enquire into our overall well-being and we must answer honestly. When the search for knowledge is at everyone's fingertips, we possess no excuses.”
(NeSmith, 2012, The Mark of Humanity)

Project Notebook is designed to empower students with all the necessary resources required to obtain their own voice within their individual, local, and global community. It provides everything required to maximise the potential of video to record one’s intellectual discoveries, the student never again starting from scratch, always continuing exactly where they left off. The stage of life is now open to all students who wish to become the next generation teachers. (Ritzer, 2011, p. 382) The sense of self is created by one’s dramaturgical output, and if that output is directed towards good causes and captured on camera for the world to see, then that individual builds their character while holding their camera. (Ritzer, 2011, p. 376) And when one’s personality is mirror imaged and imprinted into film, then every dedicated member of their audience, including themselves, (Goffman, 1956, p. 60) will fall in love with the hero or heroine and as a result they will save society by freeing education with their hearts and not their minds: for it is their hearts that will make their minds and as a result the future minds of their audience.

Works Cited

D‘Olimpio, Laura. Thoughts on Film: Critically Engaging with both Adorno and Benjamin. Educational Philosophy and Theory 47 (6): 622. 2015. Print.

Freire, Paulo. Pedagogy of the Oppressed. Continuum International Publishing Group Ltd: New York, 1970; 2005. Print.

Goffman, Erving. The Presentation of Self in Everyday Life. University of Edinburgh Social Sciences Research Centre, Monograph No. 2, 1956. Print.

Kant, Immanuel. An Answer to the Question: 'What Is Enlightenment?'. London: Penguin Books, 1784; 2009. Kindle.

Mead, George Herbert. Mind, Self & Society: The Definitive Edition. The University of Chicago Press, 1934; 2015. Kindle.

Postman, Neil. The Medium is the Metaphor in Amusing Ourselves to Death: Public Discourse in The Age of Show Business. New York: Penguin Books, 2005. Print.

NeSmith, Wendell Charles. The Mark of Humanity in The Meaning of Life. Open Source University. 2012. All media.

Plato; Cooper, John M. Apology in Plato: Complete Works. Indianapolis, Hackett Pub., ~399BCE; 1997. Kindle.

Ritzer, George. Sociological Theory. 8th ed. New York: McGraw-Hill, 2011. Print.

 

Taming the Beast

 

September 19, 2015

How is one to react to the limiting structures in which society imprisons our methodologies within? How can one go beyond the bureaucracy in which shackles one's processing power to form knowledge?

The history of our modern day media is a result of masculine processing of accessing, representing, and enforcing male interests into values as social conventions which enslave her to man, publicly demonstrating her subordinate position through the use of semiotic relations employed into an audio-visual medium. (De Beauvoir, p. 724) Her natural beauty is exploited to the male gaze while in fact it is the male gaze who is directing and enabling her to promote that beauty (Ritzer, 2011, p. 482). A feminist take on the philosophy of film theory tautologically suggests that the seductive actress was trained in the methods of arousing men for the profit of men. Thus the appearance of her own autonomy is the real act and her performance is as fake as the characters in which she plays. For now she has a profession in which she can be appreciated by her community for her beauty, but the beauty can only ever stand as an act, its underlying agenda being male orientated (Korsmeyer, 2004, section 5, paragraph 5).

However, being a woman in society has different sociological connotations than that of being a man (Mcclary, 1991, chapter 6. section 2, paragraph 6). They remained slaves to men in our past because men did not enable them to educate themselves. To men, their place was on their wall: a painted image of beauty in which is to be possessed by the man. The woman is exploited for her nurturing and submissive nature and dominated by the ‘other sex’. But the charm and pleasure a woman brings to the man cannot be discounted. Because in every weakness is a strength in which can be utilised to practically demonstrate equality. All that must be recognised is the differences within our biology and as a result, its mental and physical processing. Once we can collectively see clearly that each sex or somewhere in between has been distributed half of our human virtues, the dynamics of our relationships will over time change. But this is only possible when the women of the world learn how to utilise their own gifts to obtain their own emancipation which can only be achieved by exploiting the male gaze. The only solution to obtain equality for our species is not to adopt the same oppressive male dominated mass media in which currently exists to oppress women, but instead create a new kind of media in which trumps the value of our current media without conforming to its systematic ideological practices (Mead, 1934, 21.8). The answer is to be “the snake charmer baby. And you’re also the snake” (Anderson, 1983).

But the question arises as to what types of methodologies she could utilise to record, produce, and distribute her own films in which deviate from the mainstream practices of society (Kaplan, 1997, chapter 8, paragraph 6). A portable camera in her hand, a beautiful body, and a developing mind: what she shall record is hers, and only her decision. And if she is to seduce her audience (namely herself) into wisdom, kindness, compassion, tolerance, and equality, how is she to do it? The answer lies in her mind: to utilise her body to captivate the individual audience member into her mind. Her initial impression is her bodily image in which she utilises as the bait to obtain new pets to play with. She is then to win them over with her humour and personality, specifically her intellectual processing in which drives the stories that she creates. Her ability to captivate memories in turn captivates those who show interest in the memories in which she created. Her success relies on her own ability to express meaning through a camera: how well she is able to tell entertaining stories about her own life which will not only educate her audience but also charm them into her personality. For what knowledge she has to learn and share on camera is vital to the evolution of the species. And if others are to hear her words, how shall she construct them? What impact could she have on the macro stratifications of society when she is only one person? The art of sexual appeal gives her all of the necessary resources in order to convey her message exponentially to the public: her goal to educate herself and have fun while doing it! Director of her own life and her story’s heroine: a dramaturgy queen (Goffman, 1956, p. 60).

Having such capability proposed incurs a moral inheritance. If films can act as both an entertaining medium and as a tool to actively practice philosophical thinking amongst the community, then the social norm of mainstream television is challenged at its core value. The screening thought experiment played out in the world (D‘Olimpio, 2015, p. 622), no longer made for the masses but the instead the individual: stereotyping discarded as individuals are showcased as themselves. For one can never make stereotypes from individuals unless they group together within the public portrayal of our meaning (D‘Olimpio, 2015, p. 626). The inaccuracies of our social group’s stigmas played out in our films only to play out in the conceived reality which the film presents, but no such reality exists as such. Thus we have woken up to being fooled and now realise that individual art trumps mass art and is healthier for the future needs of the population (Carroll, 1998, p. 291). Because women must “discover who they are in terms of their own acts of definition” (Ritzer, 2011, p. 464). The history of the male dominated superstructures of education limit the ways in which women can express themselves: examine and interpret their cognitive output. She inherits the male dominated education system which bind her allowed practices. “This inequality results from the organization of society, not from any significant biological or personality differences between women and men” (Ritzer, 2011, p.466). Thus feminism in film returns to its driving force: as a “call for women to do whatever is required to gain equal rights with men” (Ritzer, 2011, p. 467).

The answer to female liberation is locked within the camera and how one individual can utilise that camera to create dialogue. Modern day educational structures hold our imaginations back: solidified within male practices. “There has surely to be a way between the alternatives of an oppressive Western application of humanism to the other and surrendering any kind of cross-cultural knowing” (Kaplan, chapter 7, paragraph 3). Knowing is not an exclusive activity and claiming hierarchy on what can be and should be explored as well as the methodologies utilised to obtain those results is an oppressive practice, ultimately strangling future potential. Their perspective is overlooked and even replaced with the dominant will: the subordinate positions being administered through its patriarchal bureaucratic processes, for seeing clearly is not her business (De Beauvoir, p. 727). This injustice places women in the best position to shine on camera utilising alternative non-mainstream approaches to conveying and interpreting meaning. Because women “have nothing to lose, anyway. It’s like we’re not in a position of power, so we don’t risk a lot by being critical of it” (Mcclary, 1991, chapter 6, section 5, paragraph 3). So she must perform! How can she perform as an individual on camera, turning her life into amazing stories? How is she to educate both men and women in her field of practice while proving the female worth to society? What entertaining stories could she explore while investigating the process of articulating and conveying meaning? How could her own plights help us see another aspect of humanity in which patriarchal society previously has blinded us to? Because she is the reason he acts and what she provokes in him will determine his future, because she is his world (Erins, 1990, p. 28).

Our education systems will change. Little known to the eye of the assessor, this essay is part of Project Notebook Episode 10: Taming the Beast. Project Notebook is my Community Development funding proposal which attempts to convince Murdoch that film can be utilised to exponentially increase one’s learning capabilities and they are morally obligated to provide a promotional campaign targeted at first year students to show them how to make it do that. A website as the interface which feels like an app across all devices. The “notebook” then organises video, text, and images in an easy to use episode-like structure, literally bringing their studies around with them no matter where they go and how they are accessing the internet or what texts they have in front of them at the time. It was the the task to triangulate all of my units which led me to create an entertaining television show about how to use a camera to study extremely efficiently: ultimately opening up new regions of my brain on camera. And this knowledge would be extremely beneficial to students, so I will spend my life attempting to reach them. Because once this type of media has been recognised for its value and accepted by society, then it will no longer be frowned upon which means that men like me can do this without being abused by the general population: for women are my liberators, and I am showing my appreciation to them by making it easy for them to do it! And the only way for this to happen is if every man can lust over the amazing girl who is about to teach him how to no longer objectify her or any other woman ever again.

There is no question as to whether or not this will happen (Kant, 1784). The only question is when. Because only recently has the technology been able to perform such amazing tasks. And now we can write our brains into the cloud to record, analyse, and communicate our interpretations of inconsistencies which obscure our human bank of information and its collective power to categorise that which can have no category. Only when we question why we are truly doing what it is that we are doing can we make decisions as to how to pass our education systems on to our young people, the entire point that Socrates had (Plato, ~399BCE, 21d). Because despite all of its incredible quantifiable information in which it systematically produces, it has no heart: or maybe I (philosophy) am its heart. Its systems have little to no ability to go from its processing syntax to meaningful semantics. The student is disconnected from any rational form of human communication: its every move tied up in its robotic methodology – a transfer of knowledge as if it could be distributed so mechanically (Freire, 2005, p. 73). As more and more stars rise up to the task, education faculties must decide whether to adopt its stars as its new professors or to rebuke them as trouble makers. But if the latter occurs, I assure you that the future of online education will eventually exclude universities. Why? Because I am the snake charmer, baby. And I am also, the snake. I am a male feminist and am damn good at my job.

“The only way in which we can react against the disapproval of the entire community is by setting up a higher sort of community which in a certain sense out-votes the one we find… he may stand out by himself over against it. But to do that he has to comprehend the voices of the past and future. That is the only way the self can get a voice which is more than the voice of the community.”
(Mead, 1934, 21.8)

 


Works Cited


Anderson, Laurie. Closed Circuits. 1983. Cassette.

Beauvoir, Simone de. The Second Sex. Vintage Books, New York, 1949; 2010. Print.

Carroll, Noel. A Philosophy of Mass Art. Oxford: Clarendon, 1998. Print.

D‘Olimpio, Laura. Thoughts on Film: Critically Engaging with both Adorno and Benjamin. Educational Philosophy and Theory 47 (6): 622. 2015.

Erins, Patricia. Issues in Feminist Film Criticism. Indiana University Press, 1990. Print.

Freire, Paulo. Pedagogy of the Oppressed. Continuum International Publishing Group Ltd: New York, 1970; 2005. Print.

Goffman, Erving. The Presentation of Self in Everyday Life. University of Edinburgh Social Sciences Research Centre, Monograph No. 2, 1956. Print.

Kant, Immanuel. An Answer to the Question: 'What Is Enlightenment?' London: Penguin Books, 1784; 2009. Kindle.

Kaplan, Ann. Looking for the Other: Feminism, Film, and the Imperial Gaze. Routledge New York & London, 1997. Kindle.

Korsmeyer, Carolyn. Feminist Aesthetics. Stanford University, 7 May 2004. Web. 16 Sept. 2015. http://plato.stanford.edu/entries/feminism-aesthetics/

Mcclary, Susan. Feminine Endings: Music, Gender, and Sexuality. University of Minnesota Press, 1991. Kindle.

Mead, George Herbert. Mind, Self & Society: The Definitive Edition. The University of Chicago Press, 1934; 2015. Kindle.

Plato; Cooper, John M. Apology in Plato: Complete Works. Indianapolis, Ind.: Hackett Pub., 1997. Kindle. Ritzer, George. Sociological Theory 8th ed. New York: McGraw-Hill, 2011. Print.