Headline March 18, 2017/ ''' THE SECRET *HISTORY* OF EVERYTHING '''



*A MASTER OPERATIONAL PLAN*  well researched and  thought out and tested,  -to get the great technology students of Proud Pakistan-

*To the screening  and interview levels, is ready*. Good luck and best wishes then from   the World Students Society, most lovingly called  -!WOW.

*Student Hussain Ali*,  to get ready, establish contact with the World Students Society, and prepare himself  for his interview with Axon,   this coming week. 

Student Tahir Hussain, was called for an interview but he has opted to prepare for,  and clear his exams first.  Student Waqar Gardezi, is already in the interviewing run. 

STUDENT READERS,  readers may recall a sequence from Michael Moore's   ''Fahrenheit 9/11'',       in which Deputy Secretary of Defense:

Paul Wolfowitz was inadvertently caught licking his comb as he readied himself to go on camera. The moment was imperishable, and cruel.

As it happens, Mr. Curtis has made a recurring emblem of his work to show familiar figures of power   -Tony Blair, Ronald Reagan, Margaret Thatcher, Vladmir Putin, and many, many others.

BRITISH JOURNALIST ADAM CURTIS now 61, has written or directed more than a dozen  hypnotically watchable, hilarious and ominous films-

All of which explore nothing less than   the   cultural and political subconscious of the last half of the 20-th century and the first decades of the 21st.

Outwardly, Mr. Curtis's films are journalistic exposes in a documentary mode. 

They often extend to three or four or even five one-hour episodes; more recently they have consisted of single continuous presentations lasting more than two hours.

Mr. Curtis is not an underground presence, not in England. He is a longtime employee of the BBC. 

The films take similar subjects   -the Cold War, the growth of public relations or financial or  military-industrial bureaucracies, the premises of the ecology or-

Anti-psychiatry movements, the enmeshment of  Western democracies in quasi-colonial military adventures in the Middle East  -and render them strange. 

Stories that might seem like 'social studies' fodder become, in Curtis's hands,  compulsive,   like a giddy horror film you can't quit watching.

His method one of serenely bizarre juxtaposition. He pursues the art of the wild leap, at the level of both  ''form''  [the editing  in his films, which consists of abrupt jumps between disparate sequences and images] and ''content'' [his factual assertions, the lines he traces among seemingly unrelated events and historical actors-

The music, which veers between trance-inducing techno-beats or ambient indie pop of the Brian Eno persuasion and satirically iconic standards or show tunes; and his own narration, which drones on authoritatively except-

When suddenly giving way to aphoristic headlines that flash on screen,  in the manner of Barbara Kruger-style gallery installation, or vanishes in favor undigested imagery and song].

It is as if your history teacher has decided to show you the brainwashing films that  Malcolm McDowell   was forced to watch in ''A Clockwork Orange.''  

Like Mr. McDowell's character,  you at once  resist   and are seduced, and by the end your brain is both exhausted and enlarged, full of new things that don't all seem to fit together.

I arrive at the BBC, narrates author Jonathan Lethem, in fact, as Mr. Curtis was laboring at edits on his new film  ''HyperNormalisation,'' a nearly three-hour epic pegged to several present crises:        

Brexit: European immigration, suicide bombing, the war in Syria. 

The sequence under Mr. Curtis's editorial hand involved the financial firm BlackRock, which operates   a powerful computerized risk-management network  called Aladdin on the outskirts of innocuous town in Washington State.

Mr. Curtis's belied is that Aladdin, is guiding the investment of now more than   $14 TRILLION    of assets around the world, has become an unacknowledged force for stasis in an innately dynamic world.

But how to show it? All he had to work with are a few archival talking-head clips, an Aladdin advertising reel,  some footage he shot of the sheds housing Aladdin's server farms and his own narration.

 Mr. Curtis was frustrated.

''How do you illustrate something invisible? he asked, as if he'd never solved this problem before, or at least not to his satisfaction.

''It's not even people doing key strokes on computers. It's just things roaring away. I'll show you this 37-second shot, my driving past those sheds.

As we watched, Mr. Curtis told me about his admiration for recent movie ''The Big Short,'' which tried to portray, for a popular audience, another facet of those invisible forces at work.

This is the whole thing about  'good and evil'  -it's naive view of the world. The problem is bigger, it's a system.''

Mr. Curtis and I briefly discussed a world coined by the critic  Timothy Martin to describe a problem so vast in space and time that you are unable to apprehend it : a  ''hyperobject''.

Global Warming is a classic example of a hyperobject: It's everywhere and nowhere, too encompassing to think about. Global Markets, too. But naming a hyperobject alone is of limited use..

Human cognition knows all too well how to file such imminent imponderable away, on a  ''to-do''  list that's never consulted again.

''I thought it was a brave stab at it,''Mr. Curtis said, continuing his analysis of the  ''The Big Short''.  ''But my argument would be that even the financial system they're pointing to is only a component of something even bigger, that we haven't really put together.

That bigger thing : It's my hyperobject.''

The Honour and Serving of the latest  ''Operational Research''  on epic documentaries to reveal a web of history, technology and power continues.

With respectful dedication to the Students, Professors and Teachers of the world. See Ya all on !WOW!  -the World Students Society and...... Twitter-!E-WOW  -the Ecosystem 2011.

''' Further Thinking '''

Good Night and God Bless

SAM Daily Times - the Voice of the Voiceless


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