Lucid Dreaming Redux... Parallel Universes, Parallel Projects?

While I was reading up on Philip K Dick (on Wikipedia, I must admit), and on recollecting some of the themes of films that have been adapted from his work, it occurred to me that a recurring theme in his work are that of parallel universes and simulacra. These tend to become plot vehicles and/or set pieces for the antihero characters in his novels... say, the possibility of viewing "parallel scenario of the future" which allows prospective criminals to be apprehended before the crime is actually committed, in "Minority Report"; or multiple identities, and therefore multiple trajectories of life, courtesy of a mind-altering drug, in "A Scanner Darkly".

(On the same page, for a truly trippy experience, rent "Altered States" which starred a younger and more follicled Ed Harris.)

I couldn't help but notice that Sern Hong's "Pirated City" thesis project bore themes that reverberated with the above. The constant link-up of his projects between Los Angeles and Singapore - and even the mechanics of the execution of the projects (Jawn's and Sern Hong's collaborative "Verticity" being one of them) - is somewhat akin to drawing a line in an attempt to connect those parallel simulacra (in this case, the time-space trajectory in LA and that in Singapore, or visions of which). I might be pushing it here - and it's likely that Sern Hong drew from similar sources - but what we might be looking at is a treasure-trove of material that can be drawn from, and which are still being drawn from, three decades after Dick's seminal work. (No pun or innuendo intended at all.)

Pirated City

Bleak cities in various stages of dystopia, which in this day and age could just well be defined as those which pride digital media exchange over the power of physical architecture, as backdrops of Philip Dick's protagonists - "Bladerunner" being the best example, mirroring Los Angeles in dystopia) - could've also led to that thought...

Blade Runner

Reading that Dick drew upon Carl Jung's theories and hypotheses was something very enlightening (and slightly goosebump-raising) as well, as his "collective unconscious" theory was something substantially referenced in my M.Arch thesis. This may be a bit of a far reach, but the whole rhizome idea which premises the thesis project - whether biological or Deleuzian - bases itself on multiple entities which function independently, and are almost mutually exclusive save for their source. One could (in a state of lucidity, probably) allude this to parallel space-time universes which begin from the same event, or multiple personalities originating from the same person, each personality functioning and behaving differently and taking completely different trajectories.

The Deleuzian Rhizome (or its unfathered variant) in the flesh!

And as Hollywood draws upon these great works on existentialism and the multiple self from yesteryear, so too do architecture students in various states of delirium, and boy, isn't that a whole lot of fun. For if space and time keep going in an endless continuum, and if we think there are multiple "space-time" entities, then it would follow that there will always be parallel universes from which our imagination (and architecture ideas!) can be drawn.

Lucid Dreaming

Picked up a couple of books which are proving to be a rather interesting read - "Flow" and "Creativity", both by Mihaly Csikszentmihalyi (that was not a typographical error!), on the recommendation of Ronald, our very own archijournalist. Csikszentmihalyi was the former chairman of the Department of Psychology at the University of Chicago. (Interesting that he's the father of one of the associate professors of the MIT Media Labs as well.)

"Flow" documents the state of concentration so focused that it amounts to absolute absorption in an activity, and that in essence leads to pleasure, typified by "an exhilirating feeling of transcendence" over one's sense of time and one's emotional problems.

That is to say, the level of pleasurability of any activity is directly variable with how much "flow" one attains, and the theory goes that this flow can actually be controlled, by "setting ourselves challenges - tasks that are neither too difficult nor too simple for our abilities".

Now, if this already sounds like a self-help book to you ("How to Lose a Guy/Girl in Ten Days", "How to be in Touch with your Inner Self", "Feng Shui by Lillian Too" - is there even a "Feng Shui by Lillian Wan"? - or the ilk), it probably is. However, much in the book is referenced to - and derived from - two decades of psychological research, and in reading it, the book does suggest ways of tuning yourself into that state of concentration and consciousness. Translate all that into something that motivates, and you get a bestseller.

And then some...

I'm barely done with the first, but the second, "Creativity", which bases itself on the Flow Theory, is starting to get interesting as well. While the first book dealt with maintaining optimal levels of satisfaction in whatever activity, thus becoming productive at it, the second deals with channeling that productivity into transcendence - i.e., being innovative. With it, more theories on the psychology of discovery and invention come into the picture.

On another note, this is also worth a catch - "A Scanner Darkly", based on the compelling (if grammatically-ambiguous) 1977 novel of the same name by Philip K Dick. Bad choice of a pen-name notwithstanding, Dick has written books which have been translated into some of the most avant garde films ever - 1984's "Blade Runner" which needs little introduction, and 2002's "Minority Report". ("Total Recall" fell somewhere in between, but wasn't quite as tasteful.)

Anyhow, even if not for the existentialist blabber, the animation technique for 'Scanner' is equally compelling:

It's a technique called "interpolated rotoscoping" (more details in the link above), which lends it a rather lucid quality (to me at least), reminiscent of A-ha's 1984 music video for "Take on Me" (more laboriously produced), and more recently, Richard Linklater's "Waking Life" in 2001:

And I've realised that in order to make an existentialist film, one would need the following things, in order of priority: cutting-edge animation software, Ethan Hawke, Wynona Rider and Robert Downey Jr.

As for the books, I'll post something slightly more useful when I'm through (and through) with them...