Strength & power 

aren't overt in prominence, 

nor subvert in dominance, 

but transverse 

in omnipresence.

REFLEXIVE THOUGHT #11:

THE PLEASURE ION 

HOW DOES IT REFLECT THE SELF?

After watching this video, could you define what this phenomenic entity is? The person in the video name is Jade Blue Eclipse; in her own way, she has exemplified the totality of the Pleasure Ion. How is does this term apply in Reflexive Psychology? First one would ask, what is the Pleasure Ion? The Pleasure Ion is the developing elation the body cultivates from the spiritual energy; an energy that is procure from physicality within the human body from an conscious to a unconscious euphoria. 

This euphoria can be experience like an extra-sensory sensation within the human body. One could ascertain clarity from Gustav Fechner's the 'pleasure principle' theory that states"action is determined by the degree of pleasure or displeasure." This dual-consciousness, nature encompasses both conscious and unconscious thought and action within the realm of physicality. The human body and the mind contain a force and a spirit that is pragmatic in unity; within the human body, there resides a storage of energy that is procured. This procurement will grant the human body the ability to complete exercises in physicality beyond the reaches and the parallels of basic imagination.

Whatever physicality is performed, whether it be routine or recreational basis, there are three  levels one can experience to enhance their 'life force' or 'euphoria'  in pursuit of the Pleasure Ion:

• Kinetic- The motion the body gathers from the procurement of the energy (this focuses on the body in motion supplied by energy of movement based on diet of food/herbal consumption).

• Cardiotic - The atmospheric cultivation of energy from the heart vessel through the body (This focuses on the oxygen, the air the human body can respirate while developing techniques that siphon oxygen throughout the body procuring energy to stabilize heart activity; anti-inertia).

• Synergetic - The combination of atmosphere & of motion to attain a supra-level of physical elevation; an out-of-body/mind-experience imperceptible by the naked eye & the conscious mind (This is the combination of both that translate into a being of supreme formation of body, mind, and spirit).

These three levels of the Pleasure Ion complexity can be performed by any technique that involves breathing, movement, or both at the same time, in order, for one to experience this electric fusion of body,  mind, and spirit. The atmosphere becomes the environment that enhances the body which is the cultured in its physicality (physical exercise, discipline). This is reflexive of the human body's ability to tap  into a supra-level of creative expression in physicality, and intellectual pursuits.

One thing that could better represent my explanation of 'energy' would be Chakras. In brief, chakras are defined as the seven centers of spiritual energy in the human body according to yoga philosophy. These spiritual centers aid the body's development of energy fluidity to keep a balanced body, acute mind, and prolonged spirit. If, you have all these chakras in synch then the body, the mind, and the spirit is in total coalesce with the SELF, the environment, and the culture the body inhabits. (For further information here is a chart to check out: http://www.chakraenergy.com/chart.html )

From this balancing of the body, mind, and spirit, there exist this clarity of the SELF; thus, the self will elucidate every action, every thought, every moment, and every sensation that applies in the inhabiting environment you confine your existence. It's omnipresence sought in conscious to unconscious effervesce. This is how reflexivity applies to the SELF. This elucidation will obviously influence the SELF and energize practice of these physicality's. This procurement, this energy become contagious from many aspects of the individual in their behavior, their attitude, and their presence. The value of this biological alchemy is the rewarded in achieving goals while in pursuit of further boundaries to maximize the body's potential.

Culture. This I must clarify further. Culture will apply to the exercise practiced (physicality or physical discipline). Examples include the following: Yoga, Karate, Contortionism, Gymnastics, Ji-Jitsu, Kickboxing, Kung-Fu, Tai-Chi, Jogging, Cycling, Running, Swimming, Meditation, Capoeira, Taekwondo, Dancing, Weightlifting, Erotic Dancing, Wrestling, and Weapons training, etc. This list is micro in comparison to how many exercises exist for one to attain the Pleasure Ion. 

One more thing I would like to add, is the video of the Jade-Blue Eclipse. She is the phenom that lit the epistemic touch for this blog and topic on the 'Pleasure Ion.' Her physicality is the prime exemplification of the Pleasure Ion. A matter of fact, I want to intensify this phenom's importance with an expression applied in the Pleasure Ion known as Eclipsism. Eclipsism is the total embodiment of SELF, of culture, and of environment developed by rigor through practice, sacrifice, and study of a physicality, physical discipline, in order, to obtain knowledge and enlightenment via the human body.

She was a walking, fire-breathing Pleasure Ion; she sacrificed herself to her discipline for the achievement of total perfection in body and in mind. I can't question her spirit for it is represented by her actions; she irradiated evolution and supra-consciousness. She become more than just Pleasure, she became a treasure of her virtues. 

There is a value in what one can do with the body and the mind in unity for there exist a natural, pure energy from within. The Pleasure Ion is the body's lost treasure. This treasure is what Jade-Blue Eclipse and many other people have developed in their experiences of the environment and the cultures they represent. This development continues to be the driving force in the nature of human existence; yet a questionable one in explanation of human body's abilities. Humans continue to search for that ultimate high. The one ecstasy that is never-ending, and always available. Hey, we already have this contained in our bodies. 

Our cultures and our environments will dictate certain habits, arouse certain curiosities, present certain delights to capture our attention from the true homage of natural ecstasy. This is the nature of the Pleasure Ion, to arouse one's body into heights attainable by diligence. The reflexive nature is it's in our hands. We decide how we want to obtain this pleasure and how much we can learn from it.

The remaining question, the reflexive perspective, is at what cost? Is all that attention to something abstract worth the time? Will this time pay off  in rightful accord? Well, the question of biological and of psychological health is always something we all should consider regardless of the cultures we inhabit and the environments we dwell in. This is, truly, a reflexive thought, yet, does this thought answer questions about the physical unknown of the universe? The human body? The human mind? The human spirit? This inquisition is no different from others; it opens the doors to new avenues to seek out further truths pertaining to the ultimate question of truth. Knowledge, a whole treasure to pursuit as in the Pleasure Ion. Or, is knowledge the truth drive of the Pleasure Ion?

  

To end this, here is another video of Eclipsism in action by Sarah M Moser & Matz displaying the Pleasure Ion in action:

Reflexive Process: Interview with independent filmmaker VINCENT MOON

Here is a little background on Vincent Moon: 
He was born with the given name Mathieu Saura on August 29th, 1979 in Paris, France. Vincent Moon has been a traveling filmmaking for about 7 years, more or less a year. I am amazed at the number of musicians around the world, that I have never heard of, he has filmed. All these videos are done for free out of the love for what the filmmaker and the artist create together in some area, some space, for people to watch and to enjoy, live or online, around the world. 

Vincent Moon has recorded over 100 film with the likes of Yo La Tengo, Wyclef Jean, R.E.M., Jess Chambers (New Zealand), Miho Hatori, Greg Saunier of Deerhoof, ZZK Records (Argentina), Bomba Estereo (Colombia), One Man Nation (Singapore), Mogwai, Femi Kuti, White Shoes & the Couples Company (Indonesia), Carlinhos Brown (Brazil), Kazuki Tomokawa (Japan), Kong Nay (Cambodia), Jose Domingos (Brazil), Tinariwen (North Africa), The Luyas (Canada) Nikaido Kazumi (Japan), Gaspar Claus, and Amanda Negra Sim (Brazil), etc. just to name a few (videos of the artist named above are here = www.vincentmoon.com).  


If, the phrase, "Practice makes perfect" or "I live my work" doesn't create an imagine in your mind; well, Vincent Moon would be this icon of liberation and of workmanship; purity in craft.

How does Vincent Moon exemplify Reflexive Psychology? Its simple, the films he records are reflections of the cultures and the environments that breeds these artist, musicians. Every video and every song tells a story from each performance filmed. These experimental films are exact samples of how a psychologist conducts research while observing subjects in a natural setting. I am learning more and more from each film Vincent has create about Reflexive Psychology, and myself. 


Henceforth, these films are directed at the self. This "SELF," I refer to, is the context being explored and interpreted in each minute of recording, upon which the performer tells a story while Vincent Moon films. This creates a phenomenon of vision, voice, and sound. This complex some would call a "music video," I would call "portraits of the Reflexive-conscious SELF ( an ego reflexion of unveiling the unconscious surfacing to the conscious through an outlet perceivable to subject's state of being)." These performances within the filming define the reflexive-conscious SELF in a space and a place controlled by only the filmmaker and his subjects: the musician.


So how does the enigmatic Vincent Moon (VM) respond to the Reflexive Psychology (RF) imperatives of video, sound, and the SELF complex?

RF: How did you come up with this idea of Fiume Nights, or traveling filmmaker?

VM: It was not an idea, but happened by accident. I left Paris and never found a home again. I was attracted to many cultures unknown to me; I wanted to explore other music, and try my skills at recording it.

RF: From these traveling films-videos, what are some of the new and the old techniques in filmmaking you have adopted?

VM: I don’t know what’s old and what’s new. I guess my filmmaking style is very old, but I use the new technologies to record and spread my work.

RF: My take on your technique is that you have taken a blend of the new and the old, in order, to create a style of your own. This is typical for any person creating there own method(ology) like psychological theorist create out of free will.

RF: How long have you been a filmmaker before starting your traveling filmmaking project? Who or what inspired you to become a filmmaker?

VM: For a list of names, check here: http://petitesplanetes.cc/about I started making films while in Paris; maybe, 7 years ago...

RF: What school did you study filmmaking? Did you consider yourself to be a good student (what I mean is was it your primary goal)?

VM: I didn’t go to school, I don’t believe in school, in general.

RF: I wish I could say the same, but the knowledge does not hurt me. I want to have some sort of a ripple in the pond, sort to speak. I have the heart. I just don’t have the tools, yet.

RF: I have watched many of your films on your Fiume Nights webpage (http://www.vincentmoon.com/video-fiume-night); I would like to know which project(s) in this past year on this page really meant a lot to you?

VM: Oh, I haven’t done this project for two years now. Are you sure you know what I am doing now? Here is the other site you were speaking about - Petite Planetes_Video_Website

RF: I may have mixed up the URL’s; I have watched the clips from your ‘Petites Planetes’ page and breezed some of your other websites like the ‘Fiume Nights.’ Sorry, I have that wrong. Thank you for correcting. I want readers to get to the right website to experience your beautiful films.

RF: I noticed you did a couple of them in South America, Brazil in particular. I want to know how the hell you get a camera into that favela (Portuguese term for “Ghetto/Slum”) abandon apartment building with Brazilian female poet/rapper Amanda Negra Sim ? I know it was a tough spot to be around with a camera.

VM: How do you know it was a tough spot? It was not. It was wonderful to go there; the people were just a bit warmer, friendlier

.

RF: I watched the clip and saw that it was in a dingy apartment building like the favelas in Sao Paulo. I am glad I was wrong. Like I say, you the man Vincent! You were carrying a camera around a Brazilian favela like ‘papa with a brand new bag.’ I am very jealous.

RF: When I contacted you, you said you were in Ethiopia? How is the project going and is this the only spot you are visiting in Africa?

VM: I spent 3 months in Ethiopia; where I made 11 films. Now, I am on my way to Ukraine and Russia. Its all go; that’s my life as a traveling filmmaker.

RF: One of the first videos I saw from your collection was the Miho Hatori (the singer of Cibo Matto) and I wanted to know how you made that happen? What was the basic idea in mind when you and Miho met for this project? 

VM: Sorry I don’t recall this film at all. It's not one of my best...

RF: The Valparaiso, Chile video was another one of my favorites. The artists, musicians seem to welcome your presence and expressed it gleefully. However, there were film clips, from an old Chile movie, in French subtitles all throughout this video you made. When did you first see this film and was it the initial influence to making this video project in Chile? Was it a recreation, in spirit, of that old Chilean film you spliced through parts of the video? 





VM: It's an old cult film called “A Valparaiso.” It’s quite unknown nowadays. I thought it would be a beautiful experience to mix it with a new film from the same place, 50 years later.

RF: Do you still keep in contact with the musicians you have done films, videos with? Do you plan to do sequels with these performers later?

VM: Of course, I keep in touch; but I never plan to film them again.

RF: I am sure you would have expected this question; can you tell me what was going through your mind while you did this video with Wildbirds & Peacedrums? Was it your primary vision? 

VM: The idea in this film was a fight, a battle. That’s all. In general, there was no initial idea, beforehand; you know.

RF: How many takes do you usually require for each video you record? Are you a perfectionist in your manner much like Stanley Kubrick was in how many takes he did for each scene?

VM: I, usually, film one take.

RF: Out of all your filmmaking travels, which country did you enjoy visiting the most?

VM: Brazil.

RF: Do you have plans to return to North America, if so when will you do this?

VM: I have no plans at all; I am not very interested in the culture over there these days. Maybe, I will have plans to visit in the future.

RF: Do you have any advice you can give to up-and-coming filmmakers in the future?

VM: I can’t give advice for I don't even know what I am doing myself. Ha ha ha.

There is only one thing I can say, “If someone tells you what the rule is, then you should do it your own way.”

This interview is preemptive of a future interview sometime next year. Hopefully, I plan to walk the wild side with Vincent Moon on one of his filmmaking excursions. If any of you are interested in giving donations for as little as $10 US Dollars (for the rest of you break out the currency calculator to figure it out) please go to his Petite Planetes website under the "donation" link, or just go to the website and enjoy the collection of videos Vincent has recorded over the years, plus more interesting news on upcoming projects he will be recording. 

Trust me. This will not be the last you hear of Vincent Moon. He is quite the filmmaker and he is fully focused, aware of the cultures and environments he film around this world. This awareness has projected Vincent Moon in a much greater magnitude: "To be one of the greatest and the coolest Filmmakers to ever exist." Much love and peace to Vincent Moon and the future artist out there in the world that he will film. 

Reflexive end note: "The work you create is a reflexion of you as a individual, as a SELF, and as a human." - This is reflexive phenomenology to the epistemological approach to creative process within the SELF.


Sounds like evolution? Well, an artist creation should always be that. Something evolutionary and something revolutionary that reflects their "SELF." Now, you know why I did this interview, people! Vincent Moon has the balls to be "the MAN!" He is the reflexion of the lens and the camera he uses to create film. Vincent Moon reflects filmmaking culture.

Here are some URL attached to VINCENT MOON:

www.vincentmoon.com/list.php

www.takeawayshows.com

www.temporaryareas.com

www.vimeo.com/vincentmoon

www.blogotheque.net/serie/concert-a-emporter/

www.twitter.com/vincentmoon/

www.youtube.com/user/vincentmoon

www.facebook.com/pages/Vincent-Moon/190144594338943

REFLEXIVE THOUGHT #9: 

Ethnography, how does this 

apply to the self, 

the observer?

My first semester at CSULB in the Spring of 2011, I was introduced to a subject that uses psychology research technique in anthropological research setting. They call this ethnography. Ever since that first class, my mind has open to the myriad of possibilities for my future as a psychologist. I just finished another semester of at CSULB taking Global Ethnography. It was enough to staple my fascination and convert it to my future endeavor as a psychologist, writer, and teacher. So, let me introduce you to what I have discovered the past year and a half at CSULB that reflects my attitude as a student of psychology.

First, ethnography is a branch of anthropology dealing with the scientific description of individual cultures. In this genre of anthropology, there are two terms that intrinsic for the observer to contain they witness these nuances of a society from any level or perspective. Before that, I want to define another perspective when an observer contains such an attitude within the perspective of cultural transformation upon garnering a cultural identity.This attitude is defined as the term ethnocentrism.

Ethnocentrism the belief in the inherent superiority of one's own ethnic group or culture; a tendency to view alien groups or cultures from the perspective of one's own. This term represent the attitude of an observer studying culture from a positive or negative point-of-view. Whichever position the observer may hold, it is a necessary attitude in studying cultural environments, habits, and activities; in order, for the observer to draw some knowledge and some conclusions to the questions sought about this civilization existence and influence upon the observer, or the world.

Before I introduce the term I coin "Cultural transformation", I want to clarify, defend, what I stated in the previous paragraph about the observer's stance in ethnographic and ethnocentric positions. There are terms to describe the process the observer complete while obtaining knowledge in civilizations foreign to their native environments: The terms are acculturation, enculturation, and a new term I define as "coculturation." First here are the definitions:

• Acculturation: cultural change; a change in the cultural behavior and thinking of a person or group of people through contact with another culture.
• Enculturation: the gradual acceptance by a person or group of the standards and practices of another person or culture.
• Coculturation: the combination of acculturation and enculturation in coalesce of a individual or group initiation into a culture based upon some of its beliefs, attitudes, creeds, politics, and social rules while existing in that environment.

Henceforth, in acculturation, you begin to accept value that are of another culture while in your present native culture; in enculturation, you are accepted by the persons or group of the culture whom standards and beliefs you practice; from both these process you have evolved to coculturation, which is you are fully cultured upon this society you hold favor to while living in that environment. 

These processes will allow one to experience a cultural transformation (the act or the process, in which, an individual, a group, or event change when they are conforming to a cultural norm, belief in the guise of appearance, nature, and character while in acceptance within the culture and environment)  from the observer's point-of-view. Then, the observer could institute a certain amount of knowledge to inform the audience for the purpose of education, entertainment or personal wish fulfillment; just to make intellectual conversation.


The point being, this term's existence conveys a lucid foundation in the process of learning about other cultures and environments, in order, for others to self-create a more intrinsic approach to accepting these phenomenon at face value instead from a narrow position that is caustic in attitudes not privy to nuance of alien civilizations.

When studying or visiting different civilizations, the observer acknowledges a different language foreign from their native tongue is spoken. This idea of language is essential in the study or leisurement of a culture. I began to investigate this topic of language in observer's, whether that be ethnographic-ethnocentric or neither, position; so, I googled and found the web page of a Professor James Lett (Emic/Etic Distinctions_James Lett) who is a Anthropology and Geography Professor at Florida Atlantic University. He spoke about certain terms explaining the linguistic (of relating to the scientific study of language) position experienced by an observer while in the study or leisurement of a foreign civilization. These terms are etic and emic. Here is what was said:

• Etic: using an outside observers categorizations; making use of preestablished categories for organizing and interpreting anthropological data, rather than categories recognized within the culture being studied.
• Emic: Analyzing structural and functional elements;.relating to the analysis of structural and functional elements of language or behavior; Using categorizes of people studied; relating to the organization and interpretation of data that makes use of the categories of the people being studied.

In etic position, is the observers data or information retrieve from their experience. This would be their side of the story and no less. In the emic position, the observers information is studied and used to explain the experience. This would give clear detail to the person wanting information on a specific topic about the culture, or civilization being studied by the observers interpretations of their language and beliefs.

  
From these perspectives of language acquisition by the observer in  a foreign culture, they can comprehend a prudent foundation that assisted in their acceptance into any target civilization while obtaining the knowledge,  and the means necessary to clarify why a culture has certain habits, traits, and attitudes while inhabiting in an environment without fault or despair. 

It is important for any observer on any level to grasp the concept of cultural transformation and its foundations: acculturation, enculturation, and coculturation. If anyone has not grasped any of these ideas then there will be difficulty in existing in these civilizations without any problem. If you want to learn of culture and exist in its environment then you must grasp this process within yourself. This will reflect your experience as you exist in these civilizations without fail.

Reflexive Thought Lucky#7: 

What is the true definition of 

Reflexive Psychology?

 

I have given some thought into the term I have coined, "Reflexive Psychology." This term may seem queer to some people, a nifty neologism to others, and just play silly to everyone. Well, it could none or all of the about; however, I decided that this term needed explanation and what better way then to put a definition to this noun phrase.

Let me begin by breaking down the basic lexicon for each word in this noun phrase:

Reflexive

1. A personal pronoun compounded with -self to show the agent's action affects the agent.

2. Without volition or conscious control; "the automatic shrinking of the pupils of the eye in strong light"; "a reflex knee jerk"; "sneezing is reflexive."

3.	Referring back to itself.

4. Of or relating to a mathematical or logical relation such that, for any given element, that element has the given relation to itself.

Psychology

1. The science that deals with mental processes and behavior.

2. The emotional and behavioral characteristics of an individual, group, or activity: the psychology of war.

3. Subtle tactical action or argument used to manipulate or influence another: He used poor psychology on his employer when trying to make the point.

4. Philosophy The branch of metaphysics that studies the soul, the mind, and the relationship of life and mind to the functions of the body.

Now, these lexicons for the noun phrase contain myriad of subjectivity to ascertain the clarification for a lexicon, definition, which I will introduce in the next paragraph. Reflexive Psychology in it's grand scope is a focus upon cultural-environment perspective for the individual or group in reference to the exact behaviors-emotions(attitudes) that represent their existence in their inhabited areas. Furthermore, this lexicon will explain what Reflexive Psychology is defined as (your witnessing history in the making):

Reflexive Psychology- A study of the emotional (attitudinal) and behavioral characteristics of an individual, a group, or activities (events) in relation to any element (culture, environment, habits, etc.) that is a given reference to itself, or the self.

This will be the (my) textbook lexicon for Reflexive Psychology. For everyone, anyone, any event, and any place may or should represent how we as humans see ourselves within the elements, phenomenons that are spoken, observed, and studied about from the position of the pedagogue. From these results, a pedagogue, in that case myself, obtains in their research prowl will be share, and explored through this medium. This medium will be host to the beginning of what I hope to be a lifestyle-philosophical-psychological (outlet) publication for the past, present, and future generations. 

 

SO, EVERYONE WELCOME

 TO THE BEGINNING OF 

REFLEXIVE PSYCHOLOGY