Carriers Of Information

Cultivate your own scientific culture based on the model of other visionaries, acting strictly in the direction of the tendency of remodeling yourself.

The entire culture of the world, according to film historian Jay Leyda, was at stake for each new problem. And, it is with no exaggeration here: for one of the scenes, the problem of composition becomes that of showing the viewers how playwright Ivan Turgenev saw things around him. For this, great director Eisenstein peels the writer’s style, seeks his sources, his mechanism of creation, and transposes within the cipher of plastic expression, his vision.

In one sequence, the peasants who wait and listen take on the attitudes and even the violent illumination of the apostles who listen and wait, from the paintings of late Spanish peoples. A splendid embroidery brings with itself the composition of Vermeer. Today, there are passages in the film in which an encyclopedic culture was so fully merged with cinema, that it can only remind you of Eisenstein. *

Do you keep benchmarks for comparison with other vectors of scientific discoveries, judging your own work through your own experiences of dealing with its composition?

It is a fairly difficult path to try and create a sphere of influence within the interaction with other artists, well-knit around the tendencies of accepting new approaches in supporting personal creation. It is difficult to place an entire culture of the world in the game of reconfiguring personal vision. But always a genuine consumer of science follows his own path of development a creative style, customizing himself by merging with other representatives of the same kind.

From the merger of two ideas emerges a third one. And an encyclopedic culture so fully merged with creation, which you reach through the attempt of substantiating your theoretical conceptions on the basis of information obtained from the sum of experiences gained by others, can be manifested as a chain reaction the produces long term effects. It will lead to the triggering of an explosion of directions in the field.

Four comparison vectors are needed to configure a unitary creative style: the word, the image, the interpretation of the final result and the way of transmitting the truth that underpins the entire conceptual construction of a dominant experience. And the benchmarks of comparison with these vectors are: the traits by which the character is defined, the way his story expresses suffering or joy, the way the scenes are placed on as living a background as possible.

The most important directors have accumulated the ability to create a story before experiencing a work of art and to appreciate an artistic interpretation before being inspired by a particular theme or situation.

You can keep some benchmarks of comparison with other carriers of information, eventually creating your own level of appreciating yourself, of considering yourself as a "task to be done", by exercising new mans of expression and new formulas of creation. But this may require to judge your own work through your own experiences of dealing with its composition, which represents a deviation from the norms of participatory leadership – "think in the mindset of others" – when it comes to providing content.

The experiences of approaching the composition of a work, under the hazard of the random agglomeration of details, relate to the place the character occupies in a certain time and space, causing him to go through a series of adventures related to real events, from an objective necessity to create the premises of an easy course of an extensive biography. The leader is also a carrier of information fueled from a foreign source that needs to be labeled as being "merging", unlike others that are not at the height of his calling.

The calling to bind one’s self to the terminals of a source of scientific, correct, synthesized, orderly information, is akin to a receiver that extracts the useful signals from the received radio waves, transforming them into a form that requires the use of the information found therein.

The scientific culture shown by a director depends on the way the elements of the image are arranged in a painting, so that they balance each other in the form of a world of characters meant to survive the events of “then” and “of now”.

Carriers Of Information are all those individuals, brilliant through their trait of giving life to new trends in the field, that act in the direction of development and affirmation of a special scientific composition, stemming both from their activity of creation and the experiences of others.

* Note - Ion Barna - Eisenstein, Youth Publishing House, 1966.