#charles eisenstein

[rekhaa]

"True discipline is really just self-remembering; no forcing or fighting is necessary." - Charles Eisenstein

#discipline #charles eisenstein

[sidewalkchemistry]

"It's really important to surround yourself with people, or at least to touch in, to a group of people who validate your hope. You can't hold it by yourself. Most people can not hold it by themselves. You need to put yourself in situations with very very positive people, who are well-developed in their trust that a more beautiful world is possible. Nourish yourself that way. It's really important."

-Charles Eisenstein

#q #charles eisenstein #interpersonal #true nourishment #hope #spiritual growth #faith #mindsets #manifestation #lightworker #authenticity #non compliance #soul development #soul group #soul family #create your dream life

[xmilkwee3dx]

#a gathering of the tribe #charles eisenstein #Aubrey Marcus #Jon Hopkins #Youtube

[jamiejoseffry]

#charles eisenstein #Youtube

[infinitedonut]

"How beautiful can life be? We hardly dare imagine it." - Charles Eisenstein

#charles eisenstein #quote

[lafcadiosadventures]

brb. setting the time machine.

[x]

[x]

#i have a file somewhere with eisenstein’s sketches of the scene #can’t find them online rn!! #so satisfying to hear from other queers who became obsessed with this scene x)) #gays becoming obsessed with vautrin since. well since the publication of pere goriot ig #we have custine’s reaction letter to the vautrin play as well #Charles the Painter-core #balzac related #vautrin related

[spectaculardistractions]

To Marie-Laure and Charles de Noailles Beverly Hills, 7 February 1931 Very dear friends, Firstly, I thank you kindly for the photo you sent of Marie-Laure and little Laure. They both look lovely and I was delighted to see them. I am so very far away that a letter or a memento from friends like you helps to fill some lonely hours with happiness. Thanks to the press cuttings I’ve received from you and Argus, I am up to date with the press campaign and reviews of the film. Your name would have been left completely out of it had it not been for Le Figaro and those spiteful comments in Aux Écoutes in particular. That magazine has taken cowardice to the point of publishing anonymous articles. If I were in Paris, I would track down that vile anonymous myself. That apart, I’ve also received some long and positive reviews. Painlevé sent me one in Dutch and Argus sent others in English, Russian and German. I’ve made an album I’ll show you when I have a chance. I quite agree with you though that for now the film is a lost cause in France. I am sure that the passing of time will correct this. In some of the cuttings (in particular an excessively ignorant article by Charensol, and in Aux Écoutes) I read that Cocteau’s film is also considered dangerous. So it seems that if we want to make films that stay within the boundaries set by the legal system, the censors, tradition and general loathing for poetry, etc., we are limited to Ruttmanesque films or charming American comedies. That is: to abstain from making films altogether. That is what is happening to me here. It is so difficult to explain, but you can’t imagine what it means to make a film over here, especially at Metro-Goldwyn. Even Eisenstein, who didn’t come up with any excessively revolutionary projects, was forced to leave after ten months without producing anything. There is nothing more predictable, outdated, banal and honest than the films made over here. For what it’s worth, they have a level of technical perfection that Europeans attempt to imitate in vain. For my part, I just observe and in no way intervene in production. Which is not to say they are not friendly, because they do pay me and do not expect anything in return. I followed your instructions not to sell the film to anyone else. Where England was concerned it was too late and by the time my telegram arrived, the deal had already been done. The arrangements with Strasbourg, Brussels and Spain though were all cancelled. On my instructions, Vicens went to the laboratory and collected the complete film negative. He wrote to say he had taken it to your home, correctly stored in two large boxes. The copy that was not seized is securely stored and will not be released without your permission. We are now going to demand the other two copies from the police: I hope they will return them. My friends on the rue Gay-Lussac are just waiting for Mauclaire’s cheque before sending you the accounts. I think they wrote to you about this a few weeks ago. As the film was banned though, I imagine there won’t be much money. GM Film have sent invoices I’ve already paid, the receipts for these are in the file you have in Paris. I’ve told them I will bring them over to show them when I get back. As for Tobis, I think he has made a copy of the damaged negative in his laboratory. I am sorry you can’t come to Hollywood. I will see you back in France then, as I don’t plan to stay in America much longer. I would love to tell you about all my adventures and misadventures since our last meeting. Best wishes to Auric if he is still with you. I’m envious. To you and Laure and Nathalie, all my friendship and fond regards, Luis PS I am sending an envelope with the cuttings you asked me to return. Thank you.

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #luis bunuel #charles de noailles #jean cocteau #walter ruttmann #sergei eisenstein

[johnzenko-bandicootcn]

#Chaque personne avec qui vous interagissez #est un univers entier pour elle-même .. #~ Charles Eisenstein

[filmaticbby]

Aries: Tarantino, F. F. Coppola, Andrea Arnold, Eric Rohmer, Edgar Wright, Ruben Östlund, Josh Safdie, David Lean, Andrei Tarkovsky, Michael Haneke, Martin McDonagh

Taurus: Wes Anderson, Orson Welles, Sofia Coppola, Lars von Trier, Terry Zwigoff, George Lucas, Robert Zemeckis, John Waters, Frank Capra

Gemini: Fassbinder, Hideaki Anno, Makhmalbaf, Agnès Varda, Alex Garland, Clint Eastwood, Yorgos Lanthimos, Aaron Sorkin, Ken Loach, Alexander Sokurov, Giuseppe Tornatore

Cancer: Abbas Kiarostami, Wong Kar-wai, P. T. Anderson, Mike White, Ari Aster, Ingmar Bergman, Krzysztof Kieślowski, Paul Verhoeven, Robert Eggers, Béla Tarr, Mel Brooks, Ken Russell, Sidney Lumet, Kinji Fukasaku

Leo: Alfred Hitchcock, Greta Gerwig, Alain Robbe-grillet, Kubrick, Wes Craven, Taika Waititi, Luca Guadagnino, Christopher Nolan, Polanski, Sam Mendes, Richard Linklater, Nicolas Roeg, James Cameron, Pablo Larraín, M. Night Shyamalan, Iñárritu, Gus Van Sant, Peter Weir, Wim Wenders, Maurice Pialat

Virgo: Tom Ford, Joe Wright, Paul Feig, Dario Argento, David Fincher, Brian De Palma, Baz Luhrmann, Tim Burton, Friedkin, Takashe Miike, Noah Baumbach, Werner Herzog, Elia Kazan, E. Coen

Libra: Julie Dash, Almodóvar, Jacques Tati, Ang Lee, Michelangelo Antonioni, Ti West, Walerian Borowczyk, Nicolas Winding Refn, Satoshi Kon, Kenneth Lonergan, Michael Powell, Jacques Tati, Steve McQueen, Denis Villeneuve

Scorpio: Mike Nichols, Barry Jenkins, Charlie Kaufman, Céline Sciamma, Tsai Ming-liang, Jean Rollin, Scorsese, Louis Malle, Luchino Visconti, François Ozon, Julia Ducournau

Sagittarius: Sion Sono, Cassavetes, Raj Kapoor, Steven Spielberg, Eliza Hittman, Terrence Malick, Ozu, Alfonso Cuarón, Gregg Araki, Larry Charles, Judd Apatow, Kathryn Bigelow, Lenny Abrahamson, J. Coen, Jean Luc Godard, Diane Kurys, Ridley Scott, Lynne Ramsay, Woody Allen, Fritz Lang

Capricorn: Larry Clark, David Lynch, Harmony Korine, Damien Chazelle, David Lowery, Mary Harron, Sergio Leone, Todd Haynes, Pedro Costa, Gaspar, Noe, Fellini, Joseph Losey, Miyazaki, John Carpenter, Steven Soderbergh, Michael Curtiz, John Singleton, Vertov

Aquarius: Jim Jarmusch, John Hughes, Darren Aronofsky, Jodorowski, Michael Mann, Derek Cianfrance, Alex Payne, Truffau, Eisenstein, Tone Hooper

Pisces: Pasolini, Sean Baker, Paul Schrader, Bernardo Bertolucci, Benny Safdie, Jacques Rivette, Bunuel, Luc Besson, David Cronenberg, Spike Lee, Rob Reiner, Mike Mills, Sebastián Lelio, Jordan Peele, Ron Howard, Robert Altman

#THIS IS MY LIST U CAN MAKE UR OWN #😭

[cucamonga-springs]

"We are facing a period of turbulence, not only in external affairs, but in our ways of making sense and meaning. We are in the midst of an accelerated unraveling of our collective stories and agreements. The redoubts of the old reality are crumbling. Their garrisons (such as mainstream media) are looking nervously over their shoulders. Those who would narrate to us what the coming social, economic, and political upheaval means have lost their credibility and their confidence. In the next five years, all manner of new stories, new meanings, and new identities will offer themselves as replacements for the old order. Few of them will be wholesome, yet all will carry at least a grain of truth. How do we maintain sanity in the maelstrom?

"The Covid era was a foretaste of what is to come. The pandemic madness may be over, but none of the social or political conditions that fostered it have changed. I do not think we will face another pandemic, much as some would like to use that possibility to keep us on a war footing. No, some other flavor of madness will take root in the fertile ground of society’s phobias, divisions, and unhealed traumas. We need to be ready for it. We have learned a lot over the past few years: what is courage, what is madness, how the mob forms, how it is manipulated, what powers are at work behind the scenes, who is vulnerable to them and who is not. We now have the opportunity to apply this learning to stay sane and hold sanity for others.

... Staying sane isn’t simply about hearing correct information or having correct opinions. Ultimately, it is about restoring relationships. A disconnected person goes mad. The reality of human and non-human others becomes theoretical. Stories about others replace direct experience of others. Sanity is a group project."

— Charles Eisenstein, 'The Next Five Years'

#relevant to current situations

[sidewalkchemistry]

In order to exploit somebody, you have to dehumanize them first. People think that slavery was the result of racism. But it was actually the other way around...In order to make slavery acceptable, you have to reduce the slave to something less than human...

Any means is justified to win the battle because they are evil and we are good. As long as our political culture is stuck in that, as long as we refuse to let the truth in, or any inconvenient truth in, because the narrative itself is a weapon... As long as that happens, we are never going to have coherence in the body politic. And we need coherence right now. This is the biggest problem facing the world. It's not climate change. It's not ecological disintegration. It's not the economic crisis. It's not even .the threat of nuclear war...The biggest problem is polarization. It is war mentality.

- Charles Eisenstein in The Secret to Changing the World (The Origin of Wrongness)

#q #quotes #charles eisenstein #interpersonal #sociology #discrimination #exploitation #conflict #mindful consumption #mindful living #mindfulness #holistic leveling up #leveling up #that girl #green juice girl #war mentality #othering #individualism #collectivism #solarpunk #yoga #ahimsa #karma #late stage capitalism #sidewalkchemistry

[lunelfy]

People You'd Like to Know Better ;

Thank you for the tag @silwermoon-sims & @waaneco :)

Last song: Relaxing Hang Drum Music

Favourite colour(s): green/violet, black/white

Currently watching: ain't no time for series, school is calling

Last movie: I don't remember 🤔 probably "Scrooge: a Christmas Carol" 2022, which was literally a year ago on Christmas 😂

Currently Reading: "The More Beautiful World Our Hearts Know Is Possible" (long title xD) by Charles Eisenstein

Sweet/Spicy/Savoury: Sweet & Savoury

The last thing I googled: YinYang in the Bible

Current obsession: dancing and drawing

Currently working on: animal drawings for my classmates

I tag: @autumnserenade @lilypixels @poisonedsimmer @pixelshary @rethdis-love (and whoever else reads this and wants to join :) feel free also to ignore if you've already been tagged)

#get to know tag #tag game #tag stuff

[radical-revolution]

How beautiful can life be? We hardly dare imagine it.

~Charles Eisenstein

[sistersorrow]

Due to nearly daily power outages and dropping out of college, I've had a lot more free time this year, so I decided I'd read more this year, and here's a list of the things I read either partly or to completion (I'm including ttrpg sourcebooks, comics, and fanfics cause I feel like it)

Jerusalem by Alan Moore

The Fifth Science by Exurb1a

Horus Rising by Dan Abnett

False Gods by Graham McNeill

Galaxy in Flames by Ben Counter

Flight of the Eisenstein by James Swallow

Descent of Angels by Mitchel Scanlon

The Men Who Stare at Goats by Jon Ronson

The Psychopath Test by Jon Ronson

Lost at Sea by Jon Ronson

The Rise of Kyoshi by F.C Yee

The Shadow of Kyoshi by F.C Yee

The Dawn of Yangchen by F.C Yee

The Legacy of Yangchn by F.C Yee

A Study in Emerald by Neil Gaiman

Norse Mythology by Neil Gaiman

Dreadnought by April Daniels

Sovereign by April Daniels

The Emerald Tablets of Thoth the Atlantean

The Corpus Hermeticum

RWBY: Scars by Doneesses

The Silmarillion by JRR Tolkien

The Prague Cemetery by Eco Umber

Hyperbole and a Half by Allie Brosh

The Bible Repairman by Tim Powers

Soonish: Ten Emerging Technologies That'll Improve and/or Ruin Everything by Kelly and Zach Weinersmith

The Gods of Pegana by Lord Dunsany

Time and the Gods by Lord Dunsany

Welcome to the NHK by Tasuhiko Takimoto

What If? by Randall Munroe

TTRPGs I read books for:

Eclipse Phase

Exalted (2e and 3e)

Lancer

Nobilis (2e and 3e)

Numenera

Ponyfinder

Unknown Armies (1e, 2e, and 3e)

World of Darkness (Old and Chronicles)

Continuum, Roleplaying in the Yet

Broken Worlds

Comics and Manga I read this year:

A Study Emerald by Rafael Scavone, Rafael Albuquerque, and Dave Stewart

Alters by Paul Jenkins and Leila Leiz

All the Last Airbender and Legend of Korra comics

Black Hole by Charles Burns

Giant Days by John Allison, Lissa Treiman, Max Sarin, and Julia Madrigal

The Unbelievable Gwenpool by Christopher Hastings, Gurihiru, Danilo Beyruth, Iren Strychalski, Myisha Haynes, and Alti Firmansyah

Gwenpool Strikes Back by Leah Williams and David Baldeon

I Hate Fairyland by Skottie Young

Irredeemable by Mark Waid, Peter Krause, Diego Barreto, and Eduardo Barreto

Jem and the Holograms by Kelly Thompson, Sophie Campbell, Emma Vieceli, and Corin Howell

Judas by Jeff Loveness and Jakub Rebelka

Kill 6 Billion Demons by Tom Bloom

Monstress by Marjorie Liu and Sana Takeda

Saga by Brian K. Vaughan and Fiona Staples

The Woods by James Tynion V and Michael Dialynas

The Wicked + The Divine by Kieron Gillen and Jaime McKelvie

Batman: Whatever Happened to the Craped Crusader by Neil Gaiman and Andy Kubert

Cheer Up! Love and Pompoms by Crystal Fraiser and Val Wise

Okko by Hub

Chainsaw Man by Tatsuki Fujimoto

Goodbye, Eri by Tatsuki Fujimoto

Inside Mari Shuzo Oshimi

#books #manga #comics #thought I read more manga this year #guess I was wrong #this list was honestly longer than I expected #but the comic and manga list was also shorter than I thought #I'm currently reading the Legacy of Yangchen and so far its been a faster read than most of the other books I read the last few months #should finish it in like five days at my current rate #I remember when I could read hundreds of pages in a day #my school library gave me a little certificate in year 9 because I'd taken out the most books that year #now I consider reading 50 pages in one day unusually quick

[byneddiedingo]

François Leterrier in A Man Escaped (Robert Bresson, 1956) Cast: François Leterrier, Charles LeClainche, Jacque Ertaud, Maurice Beerbeck, Roland Monod. Screenplay: Robert Bresson, Bbased on a memoir by André Devigny. Cinematography: Léonce-Henri Burel. Production design: Pierre Charbonnier. Film editing: Raymond Lamy.  "I don't laugh," Fontaine (François Leterrier) says. No, he doesn't. In fact, throughout A Man Escaped, Leterrier's expression rarely changes. But we always know the determination, the doubt, the calculation, the suspicion that's going through his head, thanks to Leterrier's use of his eyes.* But as Eisenstein taught us so long ago, montage is responsible for so much of what we feel and witness in movies, and we also have to credit Raymond Lamy's editing as well as Léonce-Henri Burel's cinematography and of course Robert Bresson's direction for making A Man Escaped, based on the memoirs of André Devigny, a member of the French Resistance who was imprisoned by the Nazis, one of the most powerful excursions into a man's soul ever put on film. The word "minimalism" was not so much in use when A Man Escaped was made as it is today, but if ever a film was minimalist in avoiding conventional movie tricks like background music or flashy camerawork, it's this one. Bresson's restraint as a filmmaker serves to keep us in Fontaine's head, blotting out all but his grim determination to escape. When Fontaine murders the prison guard, we don't see it. We barely even hear it. We are watching a blank wall when it happens. But we hold our breaths while it does. Today we think of the prison-break movie genre in terms of films like Stalag 17 (Billy Wilder, 1953), The Great Escape (John Sturges, 1963), Escape From Alcatraz (Don Siegel, 1979), and The Shawshank Redemption (Frank Darabont, 1994), with stars like William Holden, Steve McQueen, Clint Eastwood, Tim Robbins, and Morgan Freeman, with action leavened by comic relief and made more tense by grotesque and sadistic guards, and underscored by mood music. What Bresson gives us is a film with no stars that concentrates largely on the face of the man planning his breakout and whose only music is the occasional underscoring with the "Kyrie" from Mozart's C-minor mass. And it works far better than those more famous and conventional movies. *Leterrier went on to become a film director and writer. He made only one more film appearance as an actor, in the small role of André Malraux in Alain Resnais's Stavisky... (1974).

#A Man Escaped #Robert Bresson #François Leterrier

[spectaculardistractions]

To Marie-Laure and Charles de Noailles Culver City, 2 December 1930 Very dear friends, First, I must thank you for sending the two letters, the one from Drieu and the other one, as well as the press cuttings, all of which arrived in good time. I see the critics are still prattling on and lecturing you about charity (donating that million for a retirement home), instead of promoting a film against charity. My friendship and admiration for you increase by the day. You are unique among those of your class for having produced a work like that. And I hope that when more reviews come out they will confirm what I’ve just said. Let’s hope! I’ve been here for a month now and I’ve achieved nothing. I arrive at Metro at about midday and have lunch, then I leave at around 3pm and don’t go back until the following day. If I had hopes of doing anything they are beginning to fade. All I can say is that there is an immense list of untouchable topics. And all the topics that interest me are on that list. They just go on making the same old films where the star is the only object and the only subject. Eisenstein, to give a fine example, is leaving tomorrow having achieved absolutely nothing. And not because he proposed any overtly revolutionary scripts. They rejected the idea of him making L’Or by Cendrars. There is more talking in films every day and Metro alone has over sixty writers charged with inventing, writing, adapting or translating scripts. And you’ve already seen what they produce. For example: Yves Mirande is the first French writer and Martínez Sierra will be the first Spaniard. All the directors are controlled directly, and at all times, by supervisors whose job it is to safeguard moral values, public taste, political ideas, good sense, and every kind of routine human convention. They are marvellously well set up to quash any new ideas, unless they are purely technical ones. I don’t mean the practical side of things, that is even more impressive than I imagined. However, I am learning to despise such levels of perfection and marvellous organization at the service of the worst kind of imbecility. For my part, in order to justify my salary, I’ve asked to be put in charge of dialogues in Spanish or the adaptation of foreign films. It involves very little responsibility and will allow me to get through the first six months of my contract without being noticed. I shall return to Paris in May. We had no idea how impressive Los Angeles would be. It is ten, maybe twenty times as big as Paris. It is a vast garden with palm trees, lawns and flowers, on which they’ve built avenues where the house numbers go up to seven or eight thousand. Each one is a bungalow. And the standard of living couldn’t be more perfect. Even with my outgoings, I’ve been able to buy myself the latest Ford and live in an apartment I could not have dreamt of. Particularly in terms of the comforts. Even with the garage, monthly payments on the car, etc., I’m still saving almost 100 dollars a month. I play miniature golf every day, which is much more entertaining than normal golf. I spend Sundays at Chaplin’s house. He’s very likeable, but not particularly clever. He never spends any time with the Americans and he’s always with us (us = two young Spaniards and me). When he’s out in public, he only likes to joke around, doing the bread roll dance, miming and performing other charming tricks. When he gets serious, he shows us a postcard from London and tells us all about his childhood with his mad mother begging on the streets. And then he suddenly goes back to performing the bread roll dance. He is only ever still for a moment, at the Turkish baths, perhaps meditating. However, he does have human qualities and a quite straightforwardly warm personality. I’m sending you a magazine with photographs from the police archives over here. It is quite remarkable, completely dedicated to gangsters and their crimes. I hope you find it interesting. I see all the famous stars every day, male and female, at the Metro canteen. They are extremely disappointing. Joan Crawford is truly ugly. Greta Garbo keeps herself to herself and dresses very plainly. Norma Shearer is insignificant. Lily Damita, on the other hand, is very pretty, but she sticks her tongue out whenever she notices people looking at her. Menjou and Lewis Stone are just as they appear in the films. Buster Keaton is not particularly interesting either. And many others. The Metro canteen is like a DEAR LITTLE MALAMPIA’S GROTTO. But the film magazines have fooled us all, one way or another. I honestly envy you when I think of Saint-Bernard. I often remember my visit there and it makes me sad to think I won’t be able to visit this winter. Nonetheless, I shall save your kind invitation for next winter. I can just imagine Charles in his coat and Marie-Laure taking the flowers outside at night. And playing with Laure and Nathalie from 5 to 7 in the evening. Send them both my love. Yours affectionately, Luis Metro-Goldwyn-Mayer Studios Culver City, California PS Why don’t you come to Los Angeles and Hollywood in the Spring? The climate is wonderful, and the city is truly beautiful. It would be a wonderful trip… and I would be able to spend a few days with you. So, it’s a very selfish suggestion on my part. If you were to come, I would delay my return to Europe. The photo: my car, Georgia and me (Georgia is Charlot’s friend, the lead in The Gold Rush, where she was a brunette).

Jo Evans & Breixo Viejo, Luis Buñuel: A Life in Letters

#jo evans #breixo viejo #luis bunuel: a life in letters #luis bunuel #charles de noailles #sergei eisenstein #charlie chaplin