The Promoter Of Future Science

Transform your great innovations into a means of communication of thoughts and feelings, so that your knowledge serves as a benchmark to an immeasurable power.

He found formal innovation in the film application of a montage of attractions, this also being the method of making any film. Obsolete soon afterwards, this view Eisenstein had, has in any case significance in his creative biography, because the movie "The Strike" embryonically contains – and sometimes more than that – the great artistic innovations of later times. The ideas of Eisensteinian montage are found here in this film. The metaphoric role, associative to the montage is clear in this sequence, often quoted, in which the scenes representing the repression of the labor movement join images of slaughtering cattle in a slaughterhouse.

Examples of this kind are abound in this film. Editing becomes a language, a means of communicating thoughts and feelings. Even abstractions can be expressed through editing, as shown in the example cited above. We therefore witness the first steps of discovering the role of editing and at the same time, the first step towards the intellectual film of later times. *

Leadership: Can you outline a vision that will give a new image of the concept of the “mirror of the subject that represents their world” so as to change the course of action of a work that defies and overthrow the stylistic conventions of modernism?

That which you transmit and what others receive, brining into view the image of what you know in a practical way, depends on what you discover and fulfill in account of exceeding your own limits. Limits are akin to hammer strikes letting you know that you must rethink the way in which you combine the elements of creation that guarantee the achieving of top scientific results, mobilizing you towards leading your attributions of "innovator" to the end.

Great creators focus on establishing the type of knowledge that guides action in scientific approach, not just as a way to test their limits and high qualification in the field, but also as a means of communicating thoughts and feelings felt in an original way to deal with certain subjects. These subject may include worldviews or descriptions of a particular way of life, highlighted by an openness to scientific objectivity, having a mirror image that reconfigures reality.

We can talk about “a mirror of the subject that represents their world” where approaching a vision has as a first form of manifestation a form of communication of an information or a feeling the writer has in his own life. Here leadership gains an accent of subordination to ideas that confirm the influence of thought and especially of the sense of others, because the screenwriter MUST SHOW, NOT TELL, finding a way to train the public to adopt a certain state that illustrates a part of his personality.

A work that defies and overturns the stylistic conventions of modernism is the result of a vision able to maintain the artistic aura and acting autonomy in approaching a theme that rounds reality and gives it a more comprehensive meaning than science can offer.

In an accessible language, the screenwriter has to imprint upon his work that spiritual stage play that betrays with every movement a powerful eclectic, spectacular, comic or dramatic effect. The light of the story must have a powerful dramatic and spiritual role, that is to say, that explosion of excitement that the “deja-vu” phenomenon generates.

What a good stage director want to accomplish, by creating a montage of key elements of differentiation, gaining the form of a description and modeling language of scientific rationality, and its pragmatic integration into leadership, is that creative vision bringer of added value. A vision that is more higher than the qualities of the moment or of the power to create a variety of content and experiences.

The first steps of discovering the functions of editing are a relentless journey amid the landmarks of a proper science of observations and those of a science which mainly relies on the resources of ideas and innovative projects.

You can seal a partnership which works well between your authority as a promoter of science and the contributors to your direction of thought, only if in your art the reasoning of assuring the basis for the formulation of new standards of performance is reflected. These standards are meant to guarantee the fact that science assimilated and practiced after self-training models, will serve as a standard of manifestation, with discretion, of an immeasurable power. That power of changing your functioning parameters and direction along the evolutionary existence.

The director possesses some forms of reinforcement of a creation in relation to his being, a subject that is approached from different angles, from an artistic perspective that gives you the feeling of spiritual detachment to everything that is perishable and ephemeral.

Can you develop that part of the subject that determines the course of the action of a dramatic or epic work that reflects the objectivity of artistic vision?

The Promoter Of Future Science is the creative-leader who manages to transform his great innovations into a means of communicating thoughts and feelings. His knowledge can serve as a standard of manifestation of an immeasurable power only if he succeeds in modeling his rationality and integrating it pragmatically into leadership.

Science is the matter that comes to life after a simple rearrangement of resources of inspiration and creation, and it relates to leadership through both reason and pragmatism, but also through the feelings recorded in the subconscious in relation with the experience gathered in the field.

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