Author: Ӎ. Ní Sídach

Preferred Pronouns: She, Her Teknoӎāge, Storyteller, Dramaturge, Musician, Enterprise and Product Architect, Co-operative Capitalist, Ecocentric Socially Responsible Technology Advocate

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The LΛRP Ɖeӎonstration Ξngine | Culture As A Technology

Λn Solas Sí ΛrtScience is intended as a collaborative cooperative corporate culture of attraction, rather than promotion. We own a form of anti-commercialism based on action research and design, a cultural technology that substitutes the weaponized social science that furthers a mass consumer agenda with a unique live-action role-playing (LARP) that operates on multiple levels internally and close engagement with our patronage.

The LΛRP Ɖeӎonstration Ξngine is the branding of our proposed virtual production system. Its use enables every aspect of exploration, experimentation, design, development, productionalization, and personalized delivery with a deliberate humanic bias.

Within the system, tasks are painstakingly analysed and assigned with systemic tasks best served by adaptive automation assigned to machine intelligence in order to afford humankind the time and resources to exercise human faculties, creative human talents, collaborative human problem-solving skills, all continuously being honed to their peak.

Progressively affording physical and psychosocial health and fitness, to optimize human strengths, accommodate human limitations.

What is Magical Realism Exactly? | The Writing Cooperative

When using the term Magical Realism it has become clear that people assume they know what it means and worse, they’re never asking questions is one of several unfortunate outcomes.

My inspiration was taken from a rich tradition of Latin literature. I use Magical Realism as a specific template in the adaptation of mythic storytelling, a means syncretizing with nuance, a spectrum of psychosocial themes from diverse cultural traditions, as a light to shine upon our real lives.

I seek to illuminate, engage, provoke personal and collaborative critical-reflection, analysis, and assessment on who we are in the ecocentric context, our real-world environment.

So, give a serious read of this online published material by Tantra Bensko, a gold-medal-winning psychological suspense novelist, writing Instructor, manuscript editor living in Berkeley.

Click here to read her full article, What is Magical Realism Exactly? | The Writing Cooperative

What Is Magical Realism? | BookRiot

Emma Allmann, February 8, 2018

Magical realism can feel more nebulous than your average genre. The very name sounds pretty darn contradictory. If there’s magic involved isn’t it fantasy? How can it be realism if there are magical elements? What is magical realism? The definition has come to encompass a few different functions of fantastic elements in stories that are unwilling to confirm or deny for the reader that these elements exist in its world. It can sometimes feel unsettling or give the story a dream-like quality.

Magical realism can be found in most art forms throughout the world, however, the literary movement of magical realism was spearheaded by Latin American authors. Particularly from these Latin American authors, it is often read as a genre of political subversion. Just as the fantastic and magical elements are presented as normal, the standard structure of reality is put into question. Essentially, magical realism is a chance for authors to show an alternative to an accepted reality, which can be an incredibly powerful tool against political regimes.

As more and more authors around the world took their cue from the authors of Latin America, the genre has become blended and conflated with other genres. Surrealism, which is more concerned with upending the accepted realities of the mind and inner self, and fabulism, which is known for putting fables and myths into a contemporary setting, are two of the more easily recognized genres that have become part and parcel of the magical realism mode.

Ultimately, magical realism uses magical elements to make a point about reality. This is as opposed to stories that are solidly in the fantasy or sci-fi genres which are often separate from our own reality. There is a distortion effect in the very fibre of the prose that forces the reader to question what is real and often opens up avenues of reality we may not have thought possible before reading the story. The realities being questioned can be societal, familial, mental, and emotional, just to name a few.

To read the full article . . .