ERA: Evolution, Revolution, Awakening by Luke Robert Mason
ERA: Evolution,
Revolution,
Awakening
A Documentary film
by Luke Robert Mason
Funded by Lord Rootes Memorial Fund 2010
Submitted on November 26th 2010
E-mail 01: l.mason.1@warwick.ac.uk
E-mail 02: lukerobertmason@gmail.com
Twitter: @lukerobertmason
Website: http://www.lukerobertmason.co.uk
Prepared for the Lord Rootes Memorial Fund Trustees in partial fulfillment of the conditions of
receipt of an LRMF Award and for future award holders focusing on the creation of a
documentary film project.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Table of
Contents
Abstract................................................................................................................................. 4 Acknowledgements .......................................................................................................... 5 Introduction ........................................................................................................................ 6 Methodology .................................................................................................................... 10 Limitations........................................................................................................................ 14 Timeline............................................................................................................................. 16 Recommendation for Future Projects ..................................................................... 17 Interviewees .................................................................................................................... 20 Conclusion......................................................................................................................... 35 Accounting Statement................................................................................................... 36 Useful Reading................................................................................................................. 39 3
ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Abstract
I never considered myself a transhumanist, humanist, theologist, spiritualist, atheist,
existentialist or any other ‘ist’ that springs to mind when you go looking for ‘something’ - to
reveal an unexplored narrative about the human condition. With a small budget in my back
pocket and a bunch of interviewee’s lined up – these ‘ists’ were titles belonging to those I
encountered along the way - with the aim to bring them together in a film to explain
something fundamental about the human condition and what it means to be human in a
post-modern age.
This unconventional report will outline my journey, my experience and my final project. But I
hope it helps the reader find empathy with the themes communicated and encourages
future applicants to embrace the film making challenge. Yet, to quote Alan Macmillan Orr,
with the hope that it does not sound too self-indulgent, “this is not a work of philosophy, this is
not a [report] for intellectuals or learned men. This [report] is for every person in the world. This
is not a [report] for Christians, Muslims, Buddhists or atheists, this is a [report] for you, you and I
who are as one – Human.1”
1
MacMillan Orr, Alan (2009). The Natural Mind: Waking Up Volume I/II/III (Lulu.com: UK), Pg 3.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Acknowledgements
I would like to thank those who made this project possible, beyond the kind decision of the
Rootes Fund committee, who supported this project with the funding that enabled it to
progress forward at the speed it did.
Firstly, thanks go to Alan MacMillan Orr whose work and audio book “The Natural Mind:
Waking Up” became my inspiration to pursue new, personal, ways of thinking about the
human experience. His guidance and ability to focus my research was invaluable and he
has remained a constant springboard for ideas and perspectives. I wish him the best of luck
with his current trip to India and his barefoot challenge from John O’Groats to Lands End.
I would also like to acknowledge Dr John Pickering (University of Warwick, Psychology) for his
expertise and help throughout the whole process. His list of suggested interviewee’s and
research topics provided a solid, academic, basis on which to build the project.
It goes without saying that it has also been a pleasure to discuss the project, both face to
face and via e-mail, with Dr Steve Fuller (University of Warwick, Sociology) whose palpable
enthusiasm was inspirational and really spurred the project forward. I am grateful of his
promotion of my work to FACT in Liverpool and various other people and organizations
whom have sustained interest in the film.
Thanks go, also, to Dr Amon Twyman (University College London) who has encouraged and
informed my creative processes. His contributions are most noted in the film’s unique
soundtrack which has been created specially for the project and has been released through
creative commons by his cyber-punk band, Xykogen, as the official soundtrack (OST) of ERA:
Evolution, Revolution, Awakening2.
Of course I must also thank every single interviewee who have all played a fundamental part
in guiding me into various areas of research. Their conflicting viewpoints have made this
ongoing challenge a delight as I wrestled with their ideas throughout the difficult and
laborious edit process.
2
Xykogen Official Website - http://www.xykogen.com/
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Introduction
Concept
“Existentialism, as is said, is all about freedom. At the heart
of freedom is choice and at the heart of choice is action.
Action, then, is at the heart of existentialism, just as it is
at the heart of human existence”
Gary Cox
This report is a document, which, like the edit process, adapts, changes, is manipulated and
crossed through – a constant editing of my thoughts, ideas, preconceptions changed with
every interview I conducted.
I was the inspired by the idea of ‘taking action,’ of exploring, of forging a journey and
understanding the concepts behind the books I had read and the podcasts I had listened
to. Most of all I was motivated by meeting, and shaking hands with, the people, authors,
lecturers and academics whose ideas had been integral to my interests.
“How can I say what I need, or want, to say? What is the message I am trying to
communicate? What is my role in the film? Do I even have an opinion on these topics?”
These were the questions and fears I tentatively faced at the beginning and end of each
interview. I realised my topic was vast – yet I was keen to meet a range of interviewee’s and
capture multiple sides of the arguments that I was keen to explore.
Proposal
The purpose of this report is to give an overview of the process behind my Lord Rootes
Funded documentary film. It provides an extensive ‘Recommendation for Future Projects’
section to aid future applicants in applying for funding. Especially, for those who are
considering carrying out such a technically demanding and multi-layered project akin to a
documentary film.
In the short year in which I have been building this project there have been noteable
changes to the accessibility of high-definition3 equipment on the Warwick campus and I feel
these new opportunities should be foregrounded in-order for future applicants to take full
advantage of these.
This report will be supplemented in January 2011 with a premiere of the final film and a
hardback book with complete transcripts of the interviews – I feel it is important for the
content of these to be shared in their entirety for those interested in research pertaining to
the themes dealt within this project. In its current state (November 26th 2010) key points from
the interviews are available as podcasts along with a teaser trailer viewable on You Tube4.
The final documentary has been timetabled for a premiere in January 2011 (before the Lord
Rootes Memorial Fund Trustee meeting) and will be promoted as part of the H+UK (Humanity
Plus, United Kingdom) conference in January 2011, I hope the trustees are understanding as
3
High Definition (HD) is five times clearer than standard definition and allows for broadcast quality. This
film was shot in HD 1080i.
4
You Tube Channel - http://www.youtube.com/lukerobertmason
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
to this timetabling decision and the opportunities this offers to the promotion of the project. I
will further outline my reasons for this decision within this report.
Return to the Stimuli
As I begin to write this report it is a ‘return.’ A return to scribbled notes on pieces of paper. Of
e-mail addresses in margins of books. Of one word ideas written boldly in notebooks. Of
questions - list of questions, scribbled upon post-it notes – crossed through. Of frames
captured, of fragmented audio - recorded, enhanced, listened back to, noted and finally
cut.
“This film will creatively question if the human crisis we
find ourselves in today, presents us with a great opportunity
to change ourselves and thereby change the world around us.
Drawing on new theories predominantly in psychology, the film
will tell the story of the modern world and ask how we got to
be where we are now. It will be a journey, an exploration into
many of the new ways we have begun to think about ourselves and
the world around us. Thus, questioning the limits of our own
human creativity and compassion.”
Luke Robert Mason, Original LRMF Proposal
I understood the challenge and vastness of the topic I hoped to confront. With every month
that passed changing events influenced the direction of my film and I was keen for it to be
influenced by these and thus remain relevant. The BP oil crisis and change of government,
for example, was referenced in the film and it became concerning that I would never be
able to finalise an edit in light of constantly changing dynamics within in the world. The main
crux of the film remained in tact, however, and themes expressed in my original proposal
were actively pursued:
The ‘Blue Marble,’ ‘Mother Earth,’ ‘Home;’ all words used to
describe the planet that, as human beings, we all co-inhabit.
But are we slowly realising that our way of life in the West is
in crisis? Do the advances in modern technology, that we so
readily celebrate, affect our potential future? And what comes
next in this world where speed is ever increasing and humanly
fabricated cultural systems become the unchallenged norm?
Luke Robert Mason, Original LRMF Proposal
It came to pass that this element of my proposal became integral to the formulation and
continuation of my project. I would like to highlight, at this stage, the key phrases within the
original proposal that came to inform the project as a whole:
•
“Advances in modern technology’ – This was informed by active pursuit of
Transhumanist5 thought through contacting interviewees who explored these
subjects in detail.
•
‘Speed is every increasing’ – Speed of both daily lives and technological progression
was explored within the framing of Ray Kurzweil’s concept of ‘the Singularity.’
•
‘Realising our way of life in the west is in crisis’ – With cuts and governmental change
a concept of ‘crisis’ has remained at the heart of the work.
Transhumanism – Defined by Bostrom, Nick (2005) A history of Transhuman Thought “The coming
technological transitions may be the most important challenge that humanity will ever face. The entire
future of intelligent life on Earth may depend on how we handle it. If we do the right things, a wonderful
posthuman future with limitless opportunities for growth and flourishing may lie ahead. If we handle it
badly, intelligent life might go extinct. Don’t you want to take part and attempt to make a difference
for the better?”
5
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
•
“Fabricated cultural systems” – I was keen to pursue interviewee’s who questioned
the current social discourse and offered suggestions towards transcendence of the
way in which we chose to live.
Aims and Objectives
The original proposal contained various aims and objectives that I went on to actively
pursue. A key element of my ‘aims’ was to introduce a new student audience to the
thoughts and ideas that I was keen to communicate.
This aim often became the reason that many of my interviewee’s were keen to agree to an
interview. They were interested in the fact that I wanted to actively communicate to a new
audience who would soon be actively involved in pushing forward the changes to the world
that were described by my interviewees. It is interesting to note that I found the
demographic for Transhumanist thought, for example, to be 30 year old and above and I
was often the youngest person at their conferences or talks.
With regards to my key objectives, I am currently in the process of working on a distribution
and marketing strategy for the film – which I hope will involve my peers in organization and
running. I also have the desire to organise student debates around the topics within my film
following its showing.
Context/ Background
Various books, documents, podcasts and articles inspired this film. An extensive list of
recommended reading is included within this report.
I was keen to foreground the human and the way in which the ‘human,’ as a construct, has
changed and been mediated by the rise of technology. There are conflicting arguments
that this raises. The first suggests that embracing technology as it is our evolutionary birthright
whilst some, often luddite and spiritual arguments, foreground a rejection of technology for
its dehumanising effect on society.
Beyond the central issues – which are discussed within the film - this report will, importantly,
give a break down of the methodology used in creating the work and the limitations
encountered in the process. This is followed by a timeline to extrapolate these limitations to
analyse how they have been translated into the project. However, I am keen to offer a wide
range of suggestions to future applicants as to how to overcome these limits. This is followed
by a section of interviewee bio’s providing a short summary of why I decided to interview
them – this provides context for anyone who may be interested in pursuing this research
topic. Finally I conclude this report bringing both the ethos shared in the film together with
the ethos behind making the film. This final section will also include aspirations for how I
would like to continue this exploring this project beyond the deadlines given by the Lord
Rootes Memorial Fund Committee.
Evolution of a Title
The most obvious adaptation and change has been the title of the film and I feel the
justification for this will help contextualise the evolution of the project as a whole. I am keen
to call attention to the committee that despite a title change – the fundamental project
remains the same as that which was submitted to the board in early 2010.
Originally called Compassion: Our Greatest Flaw the query, “Is compassion our greatest flaw,
as human beings?” became the concluding question to most interviews and this was met
with a range of intrepidation and concern as to the possible defeatist nature of the film.
Optimism, for the future was the feeling felt by most interviewees and this palpable
enthusiasm informed the adaptation of the title to something more encompassing of the
range of arguments I encountered. Thus the appropriation of the anachronistic title:
ERA: Evolution, Revolution, Awakening
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
•
Evolution, refers to the argument presented by technologists that the embracing of
‘tools’ and technologies to aid our lives is our evolutionary birthright. Arguing that
humans have always been using tools to augment the body. It is only now, that
these tools can dramatically change the society we choose to live in.
•
Revolution, refers to the interviewee’s who have called for a radical approach to the
way in which we think about and engage with the world.
•
Awakening, refers to the interviewees who are engaged with an idea of a ‘global
awakening’. Whether, this is from a theological or spiritualist point of view or even
tying in with the Mayan calendar and the theories of 2012 as being a significant
point in time.
Of course ‘Era’ in itself offers a question as to how will we choose to define the time we are in
now. How will future historians look back on this period of time and choose to categorise it?
The ‘Human’ Era? The ‘Knowledge’ Era? The ‘Information’ Era? Or perhaps, another definition
entirely? I hope this is one of the fundamental questions that my film raises and goes some
way to answering.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Methodology
“The technology available for film-making now is incredible,
but I am a big believer that it's all in the story.”
Robert Redford
The project was a baptism by fire. There was an aim to be a perfectionist – but can oneman tech, crew, direct and film his own shoot? Hopefully I can prove that the answer to this
question is, ‘yes’. However, for this to be achieved it was important for me to acknowledge
and constantly refer back to my original aims and objectives.
Interview Organisation
The organisation of my interviews occurred through the use of various methods. A quick
Google search for contact details, followed by an e-mail was the most effective way of
arranging interviews. However, Twitter was also an invaluable resource for engaging in a
conversation with potential interviewees.
The following is an example of an e-mail sent to interviewees:
Dear [Name]
My name is Luke Mason, I am an Undergraduate Theatre and
Performance Studies Student at the University of Warwick,
England. I am sending this e-mail to enquire about the
possibility of conducting a video interview with you as part of
an existential documentary film project that I am embarking on
with the aim to communicate and forum the seminal ideas
surrounding the topic of the future evolution of humanity.
My project is unique in its attempt to open up the debate to
the student community and my peers - those who I believe could
really make a fundamental change to the way we perceive (or
conceive) the world. The film is being funded and supported by
Warwick University's Lord Rootes Memorial Fund, details of
which can be viewed here:
http://www2.warwick.ac.uk/insite/topic/teachinglearning/rootes/
. I have been awarded a small grant to fund my travel and
equipment costs for this not-for-profit film project and I hope
you will be willing to play a role in its creation.
I aim for the film to be premiered at the Warwick Arts Centre
in January 2011 followed by a series of debates and a miniconference led by our university Think Tank.
I would be interested in your unique perspective on the themes
I shall be exploring in the film. Please let me know if you
would like any more details? My interview's usually take the
form of a discussion and are informal.
Thank you.
All the best,
Luke Robert Mason
E l.mason.1@warwick.ac.uk
@lukerobertmason
Filming
Arguably filming is the most integral part of this project. This element can be split into two
sections, both the visuals and the audio. The methodology bellow would be the suggested
kit-list for an independent filmmaker who is thinking of pursuing a similar task:
Visuals
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
The visual elements of the shoot were the greatest challenge – in light of filming in the
homes or offices of the interviewees it was integral to keep the technical requirements of the
shoot to a minimum – but enough to allow for a professional looking final aesthetic:
•
Camera – Luckily I had access to a HD 1080i camera allowing me to film in
broadcast quality. It was important to ensure that the equipment had adjustable
white balance and exposure in order to create a natural looking image.
•
Lighting – The difference between a professional and amateur shoot is the quality of
the lighting to foreground the face and make the interviewee’s look natural. This is,
often, the most underestimated element. The importance of this was highlighted in
my original proposal and this was achieved through a simple 250 watt halogen
lamp and gold reflector set up as shown bellow.
•
Adobe OnLocation – Having borrowed a copy of this software I found it to be highly
useful in allowing for live preview of the footage in real time. The HD camera can be
connected by FireWire and allows for a visualisation of the colour composition within
the shot. This became essential in helping me set-up the look and feel of my filmic
style. An example of the OnLocation workflow is shown bellow:
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Audio
All audio was recorded separately using either an external audio capture device (such as a
H4 or H2 Recorder) or using a borrowed standard definition DV camera with XLR6 input. Both
methods would require the audio to be dubbed during the edit process. However, despite
this being time consuming, clear audio is key to a successful documentary film. In addition
with a small amount of audio noise removal and cleaning it is possible to reach a
professional standard.
Editing
As highlighted in my introduction to this project the process of editing should be foreground.
It is through this process that the footage and concepts can be placed in juxtaposition with
each other creating space in which debate can foster.
My editing process was carried out on a Final Cut Express workflow, which allows for both
capture and editing of 1080i HD footage. One of the single-most challenging tasks was
breaking down all of my footage and understanding the different viewpoints and answers to
the questions I had asked. Interviews could often be anywhere between thirty and sixty
minutes and it can take up to four-times the amount of time to analyse the footage as it
does to record the interview.
Through breaking down the interviews into shorter one-minute (or less) clips and naming and
arranging these in the project Bins7 I was able to see the range of topics I had covered and
group these together by both interviewee and theme. The workflow created for the editing of
Peter Russell’s footage is shown bellow:
The details of how current, and future, applicants can access any of the equipment listed
above are included in the ‘Recommendations for Future’ section and highlight the possibility
of using society kit, such as that available through Warwick TV aswell as new resources on
campus, such as the Institute for Advance Teaching and Learning (IATL – formerly the
6
XLR sockets are a form of audio/video electronic cables commonly used for professional
microphones and boom microphones.
7
A ‘Bin’ is a folder for placing and grouping footage/ audio/ effects in an edit suite.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
CAPITAL Centre) which, although is only a few months old, has a wide range of equipment
available to hire for students choosing to pursue film projects.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Limitations
“Do what you can, with what you have, where you are”
Theodore Roosevelt8
The Roosevelt quote above conveniently encompasses my ethos throughout the filmmaking
process but also, offers a new way of looking at supposed ‘limitations’. Having been lucky
enough to receive Lord Rootes Memorial Funding it feels almost selfish to talk of ‘limitations’
given the wealth of opportunities that this funding gave – both directly in the making the film
and indirectly in being the agent that helped me forge friendships and working relationships
with those I interviewed. I would like to frame my ‘limitations’ instead as ‘possibilities for future
development.’ It is cliché to say. “If I had more time…” however, I would like to argue that
the only real limitations are the deadlines you may be given. This, however, does not mean
that your project needs to end on the handing in of the report.
Limits in this Report
This film is still a process – still being evolved. Like some of the best student and amateur
projects9 it has the freedom to be added to, adapted, increased in length and changed as
more interviewee’s come forward and more is written about the central issues that inform its
creation. Some elements I would like to further pursue in the future include:
•
Technology and the modern world – Douglas Ruskoff has recently written, Program or
Be Programmed: Ten Commands for a Digital Age, exploring the way in which we
merely use computer programs. It would be great to delve deeper and uncover the
ways in which we are becoming submissive to technology.
•
Themes also expressed in works such as Slavoj Zizek’s Living in the End Times – this
was only a recently recommended to me and as I am reading I have already
noted various themes that I would like to go onto explore and bring into the film.
Limitations on the Film
As a student there are various push and pull factors associated with time that can place
limitations on a project. Although I would argue to not be afraid of these:
•
Quality of the project – The editing process is vast and with over 25 hours of footage
it is challenging to review/ edit and enhance all of this footage. However, I feel it is
important to find the time to complete the project to its highest standard. I know that
the one thing that a viewer will notice about you film is the one poor piece of audio
or badly dubbed microphone, which can spoil the whole experience of the work.
•
Interviewee’s – Due to the busy nature of the timetables of potential interviewee’s it
can be highly difficult to get all of the required interviews within the year of the
project, also as you meet more contacts or links and delve deeper into research
you can often reveal other potential interviewees whom you are keen to meet.
Some interviews have been arranged for after the submission of this report due to
Cited in the preface to, Zuniga, Markos Moulitsas (2008) Taking on the System: Rules for Racial
Change in a Digital Era (First Printing: United States)
8
Such as, Loose Change directed by Dylan Avery. There are various ‘final,’ ‘re-cut’ and ‘first cut’ versions
of this film available on the web.
9
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
availability. However, I am keen to stress that this is not a failure – but a legacy of my
continued interest in the project.
•
Your degree – The filmmaking process is one of compromise, the ability to find
mutual times of availability is difficult at best amongst yourself and your interviewee.
In fact the task of interviewing people from the US, who may only be in the UK for a
short stop over, offers a great deal of compromise. However, it must be
acknowledged that your degree should come first. I am currently struggling to
interview Dr. Kevin Warwick as his timetable clashes with my current lecture
timetable. For those doing creative degree’s with a large amount of extra curricular
rehearsal hours – I would suggest that serious thought should be given to the viability
of your project.
•
Life – Following on from the above limitation, it is important to be realistic. I would
argue that I attempted to be over-ambitious with my project. I juggled this project
with full time employment during the summer and attendance at conferences,
events and carrying out research which, although helped my own personal
development, it somewhat hindered the time I had set aside for editing. I would
recommend that the best way to treat the film is as-if it were a trip abroad. Find a
week or two and set this aside solely for your film. It is hard to be fully dedicated to
your edit process when it is carried out in short bursts alongside other projects. I have
set aside time during the Christmas holidays to make dedicated final tweaks to the
project so that I will be premiering a film that will be fully representative of the time,
effort and post production organization it took to make. Thus, I hope that it will also
be fully representative of a project that deserves funding from the highly sought after
Lord Rootes Memorial Fund award.
•
City filming – beyond limitations to the project as a whole one of the most
challenging and frustrating things to find out with this project is that filming in many of
our main cities and public spaces is highly regulated, especially in London. Filming
stock footage in London can be highly difficult although – as highlighted in my
recommendations section, with an artistic eye it is possible to use the campus
environment as a site for filming artistic shots, which capture the ethos of your film.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Timeline
A Years Project
The project (in its Lord Rootes Memorial Fund form) stretched over a year – from the initial
meetings on 24th November 2009 to the final hand-in of this report on 26th November 2010.
Unlike a Rootes funded expedition or travel it is difficult to limit the ‘film making’ process to a
couple of weeks. The project really has been part of my life for the last year and has opened
various avenues of exploration both in my studies at Warwick and my development as a
film-maker. This is why I am reluctant for this report to mark the end of an exciting project that
I still feel so much connection to.
Legacy
Film Production Process
The film itself is a continually evolving process. Between November 2010 and January 2011
there are notable additions and changes that I would still like to make to the film (at the
discretion of the board). The greatest advantage of receiving the Lord Rootes Memorial
Fund has been the ability to have this project evolve and grow and allow for long lasting
dialogical relationships for form between my interviewees and I.
Opportunities
Some of the various opportunities that have been presented by the Rootes Fund following
the completion of the film are as follows:
•
Speaking Opportunity at H+ UK10
Following the completion of the film, I have asked David Wood (organizer of H+ UK)
about the opportunity to speak at this year’s conference, which has the current
theme of, “Making a human difference”. This will be a great opportunity to both
promote the film and to represent the LRMF outside the University of Warwick
campus:
From: David Wood davidw@deltawisdom.com
Subject: Re: Speaking @ Humanity Plus UK?
To:
Luke Mason l.mason.1@warwick.ac.uk
Luke,
Yes, this sounds like a great idea. Because of my day-job
commitments it's been a while since I've progressed the H+UK'11
event plans, but my plan is to cater for a larger number of
SHORTER talks this time around. I'll send round an update on
various mail lists shortly.
Regards,
// David W.
10
Members of the LRMF Committee are invited to H+ UK on 29th-30th January 2011
[http://humanityplus.org.uk/2010/06/06/hold-the-date-29th-jan-2011/]
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Recommendations
for Future
Projects
“There is an old axiom that states fear is an acronym for False
Expectations Assumed Real”
Annon.
One of the most important contributions I wish for this report to make is to aid future
applicants, who may wish to engage in the creation of a documentary or video-based Lord
Rootes Memorial Funded project. The pressure that comes with having been funded
constantly challenges you to create work to a professional standard. Although, as the quote
above acknowledges, there is no need to be ‘fearful’ of the scale that the project may
reach. The film was, without doubt, a steep learning curve for me and the more I learnt
about the technical difficulties of shooting, producing and organising a film, the more work I
realised would be involved.
The points listed bellow provide the lessons I learnt through my own experiences, mistakes
and experiments. Hopefully, a future applicant armed with this knowledge will be best
positioned for making a film in the future.
Look Beyond Your Horizons
The Lord Rootes Memorial Fund is an excellent opportunity for creative students to engage in
a unique project. It is one of the key sources of funding for Young Filmmakers at Warwick –
despite the cuts that are currently directly affecting the Arts.
Outlined bellow is the advice I have for future LRMF applicants. However, some advice is
tailored particularly to those with an eye towards using the funding opportunity to produce
and edit a film work:
•
Look Beyond Your Horizons – The phrase that subtitles this section is important. I would
actively encourage any applicant who is lucky enough to receive funding to look
beyond the deadlines they have been given. If there is longevity of your project donot deny at the sake of report deadlines. On the funding documentation, it states
how the committee welcomes updates from past award holders and I feel that if
you are interested enough in the subject you should continue attempting to
conduct interviews – even if this means a degree of self-funding.
•
Be On Time – This is the contradictory advice to the point above – always turn up to
your interviews on-time and of-course ensure that you submit your report in good
time to secure the receipt of your final 20% of funding.
•
Know Your Limits, Then Ignore Them – I would encourage LRMF applicants to pursue
every link you are given. Who knows what may come of it? This can be time
consuming and challenging. However, as was the case with my eventual pursuit of
transhumansism, it may offer new and exciting perspectives in your film narrative
that you had not originally planned to explore.
•
Evolve – Following on from the above point, you should allow your creative process
to be informed by others. Be inspired by what you find, what you uncover – pursue it
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
blindly in hope that it will all become clear within the edit suite. This way you can get
the most from your experience. Although, only after a year of making the film, I still
have a pile of research I still want to study in depth.
•
Rootes Fund, its Not Just for Christmas – To any potential applicant filling in their
application documentation over the Christmas break (the deadline for Rootes Fund
is often January – Term 02) I warn you, the Rootes Fund is not just for Christmas
(especially if you are doing a film). Unlike a travel project where an amount of time is
set aside for the completion of a project, filmmaking can be a highly time
consuming. Arguably drama/ short films can have a filming schedule – however,
filming a documentary requires compromise in order to ensure you are able to
meet with everyone you hope to interview. I know that I would not have been able
to get such a diverse range of interviewees had I decided to interview everyone all
in one week.
•
It’s not just about making a film – Although the film is your final product do not let this
be your only goal. Really understand your topic. I have met many of interviewees on
an informal basis after the initial interview and some of them have been kind
enough to drop me an e-mail on a regular occasion providing me with more
research links and updates.
•
Tweet You Progress – During the time spent researching and evolving the project I
became a prolific tweeter. I tweeted about the themes of the project, the people I
met, re-tweeted interviewees and posted TwitPics11. This is a great way in which to
get people interested about your film, your process and your interviewees. It is also
an invaluable resource for research, especially if your interview bases are digitally
native and use the twitter service.
•
Get an e-mail client – Whether it is Microsoft Outlook or Mac iMail, the e-mail client
will become your diary. Almost every interview was organized via e-mail
correspondence. 400+ e-mails made up the basic logistics for my project.
•
Get Help – The hardest thing to do is to get help from your peers. Especially if they
do not share the same research interests or have poor availability. The most difficult
thing is handing over your project to a co-editor, researcher, cameraman, producer
or other film crew role – the transportation costs of extra people is also a factor which
can discourage you from bringing people in on the shoot. However, on the few
occasions where I brought a cameraman along it gave me the freedom to
conduct a much more relaxed interview without having to worry about the technical
set-up.
•
Make a plan – Always keep the original application form at hand. This document is
always worth re-visiting before writing your interview questions – thus ensuring you fulfill
your aims and objectives.
•
Research – For every interviewee there are at-least 3 books. It is always worth
researching your interviewees. Ignorance is never bliss. However, do not try to quiz
your interviewees on the work they have already written (you might as well just record
a voice over from their book). I found that the best interviews were those during
which an informal discussion occurred based around only a few central questions.
•
Use the camera as an agent – The camera, a dictaphone, a notepad – what links
these three conflicting pieces of technology is that they are all agents and excuses
for meeting the people that inspire you. I found a wealth of enthusiasm from
lecturers, academics and authors who were keen to share their ideas on film.
11
TwitPic – To submit a photo onto your twitter feed.
18
ERA: Evolution, Revolution, Awakening by Luke Robert Mason
•
The University is your best resource – Whether it is a canvas to film stock footage,
access library books for research, visit lecturers with whom to discuss ideas or a
place to get late night coffees - the campus is your best resource. The ability to
‘make work’ polarised over the last couple of years and thanks to well-funded
centers such as the IATL12 (formerly the CAPITAL Centre). Their media suite now allows
access to Mac edit suites, High-definition cameras and top quality audio
equipment.
•
Select your filming locations – One of the most difficult filming locations was the
Cambridge pub in which I interviewed Aubrey De Grey. Background noise can ruin
an interview so it is important to bring shotgun microphones and minimal kit so as to
avoid disruption. It is important to engage in a dialogue with the interviewee so you
know the sort of space in which you will be filming before you arrive on location.
•
All advice is useless – Despite the extensive list above you will find that all advice is
useless. It is, after all, is your own journey and no doubt you will find your own unique
way of filming and editing your project.
12
A full list of IATL resources are available here: http://www2.warwick.ac.uk/fac/cross_fac/iatl/resources/
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Interviewees
The following section of the report gives a short insight into the biographies and reasons
behind why I chose to interview each of the interviewees to date (November 26th 2010).
Details of the content of the interviews are kept to a minimum in this section. However,
anyone is free to request and see the raw footage if it may help and aid their own research.
Dr. Rachel Armstrong
“We need to design our world and reject the idea that, somehow
or another, a randomly given future is better” ”
Rachel Armstrong
Background
I met Dr. Rachel Armstrong at H+ UK and managed to secure an interview with her whilst she
was in the UK at The Bartlett, University College London. She is a senior TED fellow and codirector of Professor Neil Spiller’s AVATAR Research Group, developing a new architectural
methodology called Systems Architecture,
Rachel viewed both the body and the world around us as something that should, and can
be designed by humans. She foregrounded the use of technology as the agent to allow this
to happen, but first the Cartesian split between human and machine must be broken down.
Rather than push button control of our world, she advocates wetware technology, which will
enable us to understand and perceive the world with greater clarity.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Philip Beesley
“Rather than blaming an adolescent state I would rather see
this [crisis] as a tremendously encouraging and increasingly
coherent state of [potential] opportunity”
Philip Beesley
Background
Philip Beesley teaches at the School of Architecture at the University of Waterloo where he
also co-directs the Integrated Centre for Visualization, Design and Manufacturing (ICVDM).
He is an artist and architect who has an interest in emphatic technology that will work in
symbiosis with the environment and thus could potentially go someway to solving ecological
crisis and aid human beings. Rachel Armstrong kindly set up this interview on my behalf and
it was interesting to hear about new ways of interfacing with technology which could change
the way in which we view technology as a ‘them [technology] and us’ agent in our lives.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Edward Echlin
“You just see how difficult it is for people to accept the
situation we are in, we all saw that at Copenhagen did we not?”
Edward Echlin
Background
Edward Echlin is an ecological theologian and Honorary Research Fellow at University
College of Trinity and All Saints. He found out about my film via a message that the British
Teilhard Society had sent on my behalf and agreed to a short interview at his home.
The focus of this interview was mainly centered on the idea of human actions and how they
affect climate change and the earth. Although, from a deeply Christian perspective, he
offered suggestions as to how local sustainability should be foregrounded as the future of
living. A contrast to the global worldview offered by other interviewees.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Steve Fuller
“The more that science and technology has become part of the
ordinary life-world […] the more our value system changes”
Steve Fuller
Background
Having come across Steve’s work via a TEDx Warwick iTunes Podcast, it was interesting to see
how some of the things he had explored in this talk were underlying themes in my own film
project.
As a sociology professor at the University of Warwick he was one of my most accessible
interviewees. He offered unique perspectives on the way in which science and technology
changes our definition of ‘human.’ He helped me to consider that the potential meaning of
what it means to be human could, ultimately, be the want to ‘understand and transcend’
the world around us.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Dr. Aubrey De Grey
“I think exploring the richness and variety that life has to
offer is fundamental to being human”
Aubrey De Grey
Background
Dr. Aubrey David Nicholas Jasper De Grey was one of my most interesting and arguably
radical interviewees. He is the chief science officer of the SENS (Strategies for Engineered
Negligible Senescence) Foundation, which look at a tissue repair strategy for the body in the
belief that this research could increase the human life span almost indefinitely.
During my interview with Aubrey he highlighted that over-coming and defeating our biology
was the ultimate goal of being human. He shared the trends of current medical
technologies and showed how they have enabled the human to live longer and longer life
spans. He also agued that if we ‘evolved’ (due to technology advance) to a state where we
would be able to live indefinitely it would change, radically, the way in which we would think
about existential crisis.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Alan MacMillan Orr
“It is only by looking at ourselves that we can understand our
relationship with the world around us.”
Alan MacMillan Orr
Background
Alan’s work, The Natural Mind: Waking Up13 became the starting point for this project. Alan’s
humorous exploration of the self attempts to open the reader’s mind to analysing why you
think the way you do about the issues that affect modern life.
It was Alan’s book that started me on this journey and sparked my interest in questioning the
things we take for granted in modern life. He encouraged me to both pursue interviews with
experts whilst also deconstructing myself – to find my own path through the film.
I interviewed Alan in early November 2009 as a trail-run for this project and the footage has
stayed in the final cut.
13
A 2000 page, three volume personal journey into what it truly means to be human. It deals with
topics under titles as diverse as desire, gambling, electricity, war, banking, fear, supermarkets, love,
greed and compassion, and covers over 250 more topics
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Dr. Max More
“Technology is increasingly enabling us to explore new aspects
of ourselves. New ways of thinking and being.”
Dr. Max More
Background
Dr. Max More is an internationally acclaimed strategic futurist and co-founder of the Extropy
Institute. After meeting him at the Humanity Plus conference in London on 24th April 2010, he
agreed to an interview the following day.
Despite the challenge of traveling into London during the marathon on the 25th April 2010,
the interview was well worth the journey and provided an insight into his views on the
fundamental changes in technology and how these can affect our own society. He had
unique perspectives on Kurzweil’s singularity and provided a largely transhumanist
perspective on the themes shared and explored in the film.
As Max describes on his website how his work largely involves, “Drawing on philosophy,
economics, cognitive and social psychology, management theory. He develops solutions
and strategies for minimizing the dangers of progress and maximizing the benefits.”14
14
http://www.maxmore.com/bio.htm
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Natasha-Vita More
“One of the most important elements now is empathy and
understanding how we are connected”
Natasha Vita-More
Background
Natasha Vita-More is a Transhumanist Artist, the Creative Director of Digital Design, founder of
DIY Human Enhancement, and a visiting lecturer on Media Art/Design Practice and Theory in
universities in the US, Europe, South America, Australia, Canada and Asia15.
Our interview focused on the idea of creativity being the key to overcoming the current crisis
we found ourselves in. Her work looks at transcendence and augmentation of the body with
a forward thinking approach to how we could come to view ourselves in the future.
15
Bio based on information available here: http://humanityplus-uk.com/wordpress/speakers/natashavita-more/
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Diarmuid O Murchu
“We need to start seeing the value of co-operation over the
value of competition”
Diarmuid O Murchu
Background
Author of Quantum Theology and Our World in Transition, Diarmuid’s work was
recommended to me by the members of the British Teilhard Society. Although coming from
a Christian perspective his work looks at the idea that we are living in a transitional stage in
which the old ways of relating to each other are becoming redundant.
During my interview he fore grounded the way in which the concerns facing human beings
can be tackled by regaining a concept of ‘spiritual consciousness,’ of ‘waking ourselves up,’
to look at our role in the problems which face the planet.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
David Orban
“We have to learn more about the world to design and implement
more efficient societies”
David Orban
Background
David Orban is a member of the Faculty of the Singularity University and former Chairman,
and a Director of Humanity+. I was able to catch him for a few moments whilst he was in
the UK for the H+ UK conference.
During the short moment I managed to interview him I asked about the importance of the
Internet of Things a conceptual future network whereby all objects are connected via the
web. This would enable us to better understand the world we live in and thus understand how
we can design our world better, thus potentially overcoming ecological crisis.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Mike Quinsey
“Ever since man has been able to build things, we have been led
to believe that this is what we should strive for […] however,
soon greed took over.”
Mike Quinsey
Background
Mike Quinsey was my first interviewee after Alan MacMillan Orr. He was featured on one of
the Mysteries of 2012 iTunes pod casts and his UK location and interest in the Mayan 2012
philosophies made him an interesting interview candidate. However, as the film has evolved
his focus on New Ageist spiritualist ideas, although offered an interesting insight, was not as
central to the key themes of the film.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Dr. Martin Raff
“The more you know about something, the more capable you are
about thinking through the consequences”
Martin Raff
Background
Martin is a molecular cellular biologist in the MRC Laboratory for Molecular Cell Biology
(LMCB) at University College London.
I decided to interview Martin as the counter argument to Aubrey De Grey’s view of
overcoming death. Martin firmly believed that death is ‘the meaning of life’ – that the fact
that our lives are finite leads to our motivation to change things whilst we are here. He also
advocated a scientific understanding of the world in which, as knowledge increases we can
tackle the crises we may face with greater awareness of the potential consequences.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Peter Russell
“Crisis seems inevitably necessary […] we can go on having
warnings and people telling us we need to change and we will
ignore them. […] it’s going to take crisis for humanity to
change.”
Peter Russell
Background
Peter Russell is most notably the author of The Global Brain. His work looks at Jim Lovelock’s
concept of Gaia Theory, combining it current trends in technological advance.
I was fortunate enough to secure an interview with Peter whilst he was in the UK. This was one
of the latter interviews I recorded and yet his work was also one of the first texts I read whilst
researching the project back in 2009. It was interesting to revisit the ideas and concepts in
his book in light of the time I had spent with the transhumanist community.
Interestingly it was also this text that informed my original Rootes Fund Proposal and the
following passage (which embraces both spiritual and technological ideas) has stayed with
me throughout the project:
“…as we gain greater inner stability and equanimity in this
changeful world, we may find the courage to express our deeper
values and use our technology to create the world of our
dreams” (Russell 2007:21)
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Dr. Amon Twyman
“You don’t have to accept the way things are. We can explore
the possibilities of our mindset, our body and environmental
circumstances. Technology and our behavior are tools. We can
change ourselves and we can change our circumstances.”
Amon Twyman
Bibliography
Dr. Amon Twyman is a London-based cognitive scientist, currently based in the Department
of Cognitive, Perceptual and Brain Sciences at University College London. His current
research looks at the role of conscious and non-conscious processes in judgment and
decision-making; however, he also has an interest in Extreme Simulation Scenarios and the
role of technology in reframing consciousness.
My interview with Amon focused on looking at the way in which technology is changing our
perception and manipulates our experience of reality.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Humanity Plus UK Conference
Background
The Humanity Plus UK 2010 conference theme was, “What challenges and opportunities
does the human race face in this age of unprecedented change? How can we help shape
the future, spread the benefits and mitigate the risks of the coming technological
revolutions?16”
Due to the speaker list for this event, some of whom I went onto interview on a one-to-one
basis, I arranged a press pass with the organiser (David Wood) and filmed the entire event.
To ensure I could sync the audio in the camera I hired a Sony Z1 for the event, which I
connected via XLR to the microphones used during the conference.
In exchange for releasing the footage under creative’s commons I have been allowed to
use the film footage from this conference in my film project.
Footage that I have edited on behalf on H+ UK can be found here:
http://www.youtube.com/humanityplusuk
16
http://humanityplus-uk.com/wordpress/speakers/
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Conclusion
“Finally a disclaimer: If this [report] doesn’t change the way
you think, feel and act for the better or in ways you hope and
expect, then don’t blame me! I am not responsible […] for
reading it, for what you make of it and for what you do or
don’t do in response to it”
Gary Cox
I hope this report has sparked interest in my final film project and I urge you to watch the film
with an open mind. I have described a process of a constant editing, additions and
changes. However, I feel that my stagnation in committing to a final work straight away
came from a fear that I did not know enough and always wanted to find out more. My key
advice would be to never be fearful of not knowing enough. As the filmmaker it is important
to acknowledge your own role in the film and take your audience along the journey of
discovery. The film I chose to create was about making the sense of my confusion, about
the frustration of editing, about the impossibility of understanding and the chasm of space in
which there are no answers only more questions.
I hope this honest way of presenting my research sparks interest from fellow students and
peers who may take their own journey of exploration – whether this is through making a film,
writing a blog, tweeting an idea, scripting a play or even writing a book.
The Rootes Funding gave me the freedom to find my own voice and style. It is so easy to
agree with, and use, other people’s words, ideas and concepts - I have started each
section of this report with a quote after all. It is much harder, however, to find your own
opinion. To find where you stand amongst the noise of competing ideas and ideologies.
In hindsight I would argue that with such range of exciting topics and interviewee’s I should
have perhaps presented the project in the form of a series of podcasts or a 10 minute (You
Tube upload limit) mini-series’ which dealt with each issue and theme, that is explored,
separately. However, I find there is a greater narrative that can be shared through the
medium of documentary allowing for vast more room for debate.
To conclude with the words of Alan MacMillan Orr in my pre-interview telephone
conversation to him in early November 2009, “If your film changes the view or perception of
just one person, then its job done.”
It is a privilege that the committee took such a risk on, what I hope is a truly unique project –
an existentialist understanding of the world in which I live. University is a time for existentialist
thought and it is projects like this which give students a platform to explore a little of whothey-are outside the rigid rules and constraints of their degree.
I am keen for anyone who may have an interest in this research area to contact me via the
details on the title page of this document. I would be keen to share what I have learnt and
engage in a critical debate about the subjects my film raises.
My final advice would be: Go and meet those who inspire you. In a world of ever increasing
communication they are only a short e-mail away. You will never be disappointed.
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Accounting
Statement
An outline of the project accounting statement is listed bellow.
Current Statement
Bellow is the current statement – retained receipts have been included in a separate
envelope. It should be noted that:
•
All petrol amounts have been worked out at an average of 17p per mile (the lowest
average band on the Warwick SU money claim forms).
•
All petrol costs were calculated using the RAC fuel and mileage claim calculator17
using the exact postcodes of the locations traveled to and from.
•
In the interest of the privacy of my interviewees I have not included the exact
postcodes in the statement bellow but I would be happy to provide these to the
committee if they feel the need to double check any of my costs.
Item
Notes
Cost
Petrol
Kit Collection From Warwick
University during Easter Holidays
10th April 2010
Brighton to Warwick Uni Campus
155 miles
310 miles (Return)
£52.80
Petrol
Mike Quinsey Interview (Collect
Cameraman in Eltham on the way)
11th April 2010
Brighton to Eltham to Ashford
107 miles
214 miles (Return)
£36.64
Tapes
HDV Tapes x3 – Jessops
£26.00
Tape Cleaner
Sony Mini DV Camcorder Head
Cleaner
£13.64
Tapes
2 packs of HDV Tapes x5
£79.18
MPEG-2 Codec
Codec for Running HD Footage on
QuickTime on my Laptop
£15
Train Tickets Leamington Spa to
London (Return)
Rachel Armstrong/ Philip Beesley
Interview
£16
Oyster Top-Up
Rachel Armstrong/ Philip Beesley
Interview
£5
Camera Hire for H+ UK
Conference
Pro-Motion Sony HVR Z1E Hire for
Weekend.
£82.25
17
RAC Fuel and Mileage Claim Calculator - http://www.rac.co.uk/fuel-claim-calc/fuel-calc/
36
ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Tickets for H+ UK Conference
2 x Tickets @ £16.02 each
£34.04
Side Loader – Camera Accessory
Accessory to ensure camera tape
can be changed without removal or
camera from the tripod – allows for
continuity of shot during tape
change over.
£42.89
Male-to-Male XLR
Camera Accessory needed for
Humanity Plus to connect camera
to sound system. Purchased from
Maplin.
£5.99
Parking (Central London)
Parking near to Conway Hall
£36
Petrol
Humanity Plus Conference Filming
Brighton – Conway Hall, London
Saturday 24th April 2010
53.42 Miles
106.84 Miles (Return)
£18.16
Petrol
Max More Interview
Brighton – Great Western Shaftesbury
Hotel, London
Sunday 25th April 2010
60.43 Miles
120.86 Miles (Return)
£20.54
Cameraman Travel
Humanity Plus Conference Filming
Eltham to London Travel Card
£7.50
Petrol
Edward Echlin Interview
Brighton – West Bexhill
Monday 26th April 2010
27.93 Miles
55.86 Miles (Return)
[Receipt Included – exact fill up on
day of interview]
£9.50
Travel Card
Peter Russell Interview
Swanley to London Travel Card
£18.30
Petrol
Aubrey De Grey Interview
Swanley to Cambridge
Sunday 18th July 2010
70.1 Miles
140.2 [Return]
£23.84
Travel Card
Amon Twyman Interview
Swanley to London Travel Card
£18.30
Travel Card
Martin Raff Interview
Swanley to London Travel Card
£18.30
DV Tapes
Maxwell Recordable DV Tapes
To Record Audio on Standard
Definition XLR input Camera
£16.63
Tapes
HDV Tapes x 5
£35.75
Tapes
HDV Tapes x 5
£33.99
Tapes
HDV Tapes x 5
33.85
Petrol
Diarmuid O Murchu Interview
Brighton – West Ealing
Sunday 17th April 2010
74.64 Miles
149.28 Miles (Return)
£25.38
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ERA: Evolution, Revolution, Awakening by Luke Robert Mason
TOTAL
£725.47
Use of Final 20% and Remaining
Hire of the Warwick Arts Centre Cinema costs for student film showing:
Wed: with technician/stewards £250 (£100 of which is VATable).
Without technician/stewards: £150 (no VAT applies)
Sunday: with technician/stewards £350 (£200 of which is Vatable)
Without technician/stewards: £150.
38
ERA: Evolution, Revolution, Awakening by Luke Robert Mason
Useful Reading
The following section outlines some of the books, articles and podcasts that have inspired
and informed my work and creative process. Some are works that were used as research,
others are texts I recommend for further reading and some are texts recommended to me
by interviewees. Please feel free to digest this list how you see appropriate. Please consult
my twitter page and website for further web-based influences.
Braden, Gregg et al. (2009). The Mystery of 2012: Predictions, Prophecies and Possibilities (Sounds True
Inc: Canada)
Brodie, Richard (2009). Virus of the Mind: The Revolutionary New Science of the Meme and How It Can
Help You (Hay House: UK)
Cox, Gary (2009) How to be an Existentialist: or How to Get Real, Get a Grip and Stop Making Excuses.
(Continuum International Publishing Group: London)
Echlin, Edward (2010). Climate and Christ: A Prophetic Alternative. (The Columbia Press: Ireland)
Foley, Michael (2010). The Age of Absurdity: Why Modern Life Makes It Hard to Be Happy. (Simon and
Schuster: Australia)
Fuller, Steve (2010). Science: The Art of Living (Acumen: UK)
Furedi, Frank (2006). Culture of Fear: Revisited (Continuum Books: UK)
Goertzel, Ben (2010). A Cosmist Manifesto. (Humanity Plus Press: USA)
Kurzweil, Ray (2009). The Singularity is Near: When Humans Transcend Biology. (Penguin: USA)
Lovelock, James (2010). The Vanishing Face of Gaia: A Final Warning (Penguin: UK)
McGilchrist, Iain (2009). The Master and his Emissary: The Divided Brain and the Making of the Western
World (Yale University Press: New Haven)
MacMillan Orr, Alan (2009). The Natural Mind: Waking Up Volume I/II/III (Lulu.com: UK)
Norman, Richard (2004). On Humanism (Routeledge: London)
O’Murchu, Diarmuid (2004). Quantum Theology: Spiritual Implications of the New Physics (Crossroad
Publishing: USA)
Rushkoff, Douglas (2010) Program or Be Programmed: Ten Commandments for a Digital Age. (Or
Books: USA)
Rushkoff, Douglas (2009). Life Inc.: How the World Became a Corporation, and How to Take it Back.
(The Bodely Head: United Kingdom)
Russell, Peter (2007). The Global Brain: The Awakening Earth in a New Century. (Floris Books: Edinburgh)
Tolle, Eckhart (2005) A New Earth: Awakening to Your Life's Purpose (Dutton Adult: USA)
Young, Simon (2006) Designer Evolution: A Transhumanist Manifesto (Prometheus Books: USA)
Zizek, Slavoj (2010). Living in the End Times (Verso: USA)
Zuniga, Markos Moulitsas (2008). Taking on the System: Rules for Racial Change in a Digital Era.
(Penguin Books: USA)
39