What Ti Write In To A Wedding Card Funny

Game and problem solving in the films of Méliès and

In Paris, the audience of the first films shown in Europe, the arrival of a train in a local station, still remained with his eyes wide and mouth open in amazement when one of these approaches, is presented as magician and asks if he can buy a device like what he saw to project images. The response of the two brothers who organized the screening is dry: no, this is a device that is not going to play, the theater, but to science. It was 1895. The two were brothers Louis and Auguste Lumiere and was the magician Georges Méliès. Continues with this post a reflection on the relationship between magic, theater and film on one side and the other problem solving started yesterday with the post Solve and create problems with the magic and the theater .

Georges Méliès can be considered the father of cinema . Before him, in fact, the Lumière brothers were still at the documentaries. Not only that they had not understood the real value of what they were doing because they thought that their invention was intended only to scientific fields. In fact, when in 1895 the illusionist magician Méliès asked to buy the equipment they used these refused to sell asserting that it had something to do with science, not the game or the theater. Undeterred Méliès had built a machine to be taken by a rudimentary engineer and began a remarkable career as a director, which lasted until 1913. In all these years as a film studio created something like 1,500 movies (mostly destroyed) is accented with several masterpieces. Among these Trip to the Moon , from which comes the famous image in the top left corner that plays for the rocket used by cosmonauts to the moon going to stick in one of the two eyes of face of the moon.

Méliès's films can be considered as " theater impossible "because it subverts the laws of physics, logic, and everyday life. In most of his filmography, in fact, is grappling with a series of illusions that plumb the impossible. Not Infact uono of his greatest masterpieces was titled journey through the impossible . Méliès Here he travels to heaven, the sun and the deep sea. Moreover, the impossible was his job before coming to the cinema because it was one of the best magicians in the world, so they have inherited the theater of the great Houdini. Before his short film viewers will be amazed, dazed as asking "but how did"? See for example Le magicien 1898.

Today, this kind of film has the same effect he had on his contemporary audience in which, however, aroused wonder and wonder. In order to do was use the whole repertoire of techniques illusionist , who knew perfectly: appearances, disappearances, and projected shadows, simulacra. When, in fact, wanted to buy the unit of Lights did not know what to do, but soon when he had the technology he needed in his hands you transposed all his wisdom as a magician. One of the first achievements was in fact trick d'une dame chez Robert-Houdin it appears that he himself gets rid of a woman. The film must have seemed like a great opportunity to expand the scope of his tricks, his illusions. And you put out with such enthusiasm. For him, this new invention is not an exclusive preserve of the scientific fields, such as the Lumière wanted, but a beautiful toy. His films are in fact modulated according to the stylistic elements of farce, full of humor and characters, like the devils, magicians and pierrot coming from all over the vitality of the commedia dell'arte. Look, for example, Lune a meter 1898.

This look at the dawn of cinema allows us some thoughts, or rather the real lessons. We start from the play: Méliès, as we have seen, the film is a great game , almost childlike, imaginative in which attention is paid to the fun and moral education as it will only cinema his time. And 'This is the first great lesson for this great director likes to explore all the possibilities that the emerging technologies give film the show. And in all his movies is a delight, amusement. Has not been able to work with great actors but he is relaxed and moves with great dexterity as well as some forms it uses, voted to the game and jokes and jokes such as magicians and devils. This does not diminish the artistic possibilities of cinema, but the boosts. Why does everyone amused him, the actors, crew, spectators. And this is a wonderful opportunity to explore in every direction: towards the problems, opportunities, etc.. And it's the real deal to pick complexity . The game is in fact a reduction of complexity. "The game starts up all forms of thought, the vertical and lateral thinking, rationality and emotion, thinking and doing. (...) The game can be used to analyze the situation with different eyes, to see problems that were not otherwise obvious, "writes Umberto Santucci in Make light on key (The Heron) .

Who are the most skilled in using the game? Children , of \u200b\u200bcourse. It 's really a very powerful resource for thanks it can resolve situations that would otherwise stagnate. Read the story Ali Cogia The pilgrim and merchant smart it The Thousand and One Nights . It tells of a wealthy cloth merchant, Ali Cogia, which leaves for the pilgrimage to Mecca. Before leaving the hidden gold coins in a jar with olives on the surface, seals it and entrusts him to a merchant friend, asking him to keep it. This seeing, years later, the rich merchant who never came home from his trip opened the jar and found the gold coins. Just in case he threw away the olives are rotten, they bought a new and closed again the pot. Shortly after Ali returned and ordered to restore the vessel. No longer finding the gold turned to the courts for justice but it listens to the two versions (that of the wealthy merchant and the merchant's smart) and you think that Ali wants to take advantage of the other merchant and thus rejects his allegations . To win anything from this review then turns to the caliph Harun ar-Rashid. He had a habit of dressing up and walking through the streets of the city. In doing so he sees in a courtyard of children playing in the staging process against Ali, the merchant smart. The court asks that the child be brought to the pot and calls to other children, self-styled experts olives, olives if those who are inside are recent years or older. The response is that they are very recent. Thus, the court endorse the allegations of child Cogia Ali and condemns the custodian of the vessel, guilty of being possession of gold coins contained therein. The next day the caliph is to call this child the same way and makes judging the case.

So I think the case that we take some questions. Games ever? Have you ever realized the potential of the game? Have you ever tried to solve problems playing? What games did you use? If you want to answer in the comments.

Of the other classes is dealt with in later posts, his sentence for every day ;-)

Who wants to learn more about Georges Méliès can fun to browse this mini-map below.

Black Shirt And Black Vest

Solving create problems with the magic and the theater

The construction of scenarios, their art and illusions of the stage door to change the way a problem. The latter can have different meanings, unexpected. And 'this the lesson of grammar illusion that Matthew presents in Rampin Think like a wizard (Ponte alle Grazie, Milan, 2006). Defining the illusionistic effect as "a seemingly impossible change" tells us that the impossible is possible when it is thought. And in this illusionists, whose ways of thinking Rampin rebuilds, are teachers. Imitating then becomes possible to provide answers to questions that would otherwise remain free. And 'what happened, for example, with the introduction of the vaccine that complies with the principle of illusion pars pro toto which falls within the rhetorical figure of synecdoche. The latter is the foundation of the theater, "the synecdoche of a replacement part for the whole is essential at every level of dramatic performance, "wrote Keir Elan Semiotics of Theatre (Universale Paperbacks Il Mulino, Bologna, 1988, p. 35). There are numerous applications in both the scenery is actions of the actors, inevitably reduced, which in the minds of viewers attach special meanings. Something similar also happens in the cinema where for example a small group of people can simulate an entire crowd. So this using one part per all created in the minds of players and spectators a different perspective of reality that is often the right lever with which to solve this or that problem. This is because a mind that knows how to use the thought but also the illusion lateral thinking so does not accept the premise that the person asked. Rampin quotes about the episode of the Synoptic Gospels in which the lawyers ask Jesus whether it is permissible to stone an adulteress on the Sabbath. If he had said yes to the Romans would have disobeyed the exclusive jurisdiction which it was for the death penalty. If he said no he disobeyed the Jewish laws. So build another premise by asking who he was without sin cast the first stone.

Something similar is also James Tiberius Kirk, captain of the Enterprise in Star Trek saga . The exam simulation of the academy that enshrine official is constructed so that no one can overcome it. Kirk in secret, however, alter the software of the simulation and therefore unable to pass the exam. This changes the reality of the problem it faces. In a way not unlike Theseus when using the Ariadne's thread out of the maze in which he killed the Minotaur. If we are to those of Kirk and Theseus are the tricks, ruses of to get out of difficult situations. Thought the alternative is the way to achieve that, at this point, it becomes the least difficult of the problem solving process. The real power of a magician or an actor is in his mind, in its capacity quickly find alternatives. The playhouse is also time to think differently. The playwright who wrote the script has all the time he wants, as well as a puzzle or a mystery writer or a writer. In the shows' s improvisational theater not have anything available, if not ourselves in a situation. Using just a few items that you have leverage on ' attribution of meaning, a characteristic that the actors have in common, especially with the magicians and children here is one of the reasons why it is so theatrical improvisation necessary spontaneity. Through it we are freed from prejudices and stereotypes that otherwise there do not even see the possibilities before us.

often be set aside even one's education. Keith Johnstone, one of the fathers of improvisation theater, it's imperative for this, "create something is to go against one's education" ( Impro , Dino Audino Editore, Roma, 2004, p. 71). Education, in fact, often is nothing more than repeating certain behaviors in the face of adversity. But the repetition of a certain move is mostly deal breaker especially when you do not understand what you are facing. For a comedian can happen, for example, that the jokes did not make an audience laugh is a laugh another audience. If it is doomed unless it proves to be of good skills as an improviser that Robin Williams stand up comedy in his mixes jokes and jokes ready to arm. So Robin Williams manages to surprise the audience every time, like a good magician can do, even if these numbers classic sleight. Because his real power is not so much in the techniques and skill but in his mind, in thought, his ability to build the alternative that a type of logical thinking, vertical does not know and can not find. "The problems as mental constructs, they exist only in relation to someone's mind," writes Rampin (p. 95). E 'then our mind the hunting ground of the problem solver, looking for those mental mechanisms, prejudice, bias and any other difficulties that brings us in front of ' self-deception that is the problem. And it can be done if you work a semantic, ie the production of alternative meanings.

How, then, to create these changes? In Chapter 1 Rampin says, "should not think about how to turn the impossible into the possible, but how to turn the impossible possible (ie make it impossible for others to understand the things" (p. 40) which is what makes the magician who has to work again on two logics: that of the spectator, which is the vertical logic, and one of its own, internal, behind the scenes that makes it just possible (movements, gestures, devices, etc..) impossible.

Waxing Female Pubic Hair Clips

understand the problem in five moves

Visitors to the website problemtelling.com , this blog and members to Facebook group have begun to know this phantom "problem telling" and as one can read from his definition can be defined as the art of transforming problems into narratives in stories and promises and then a playful approach to narrative problems. Today I want to illustrate five different pairs of areas, but the contradictions in our case are all apparent and serving as a short presentation of it which is a bit 'art and a little' discipline in the group problem-solving. The technique I used is the one invented by Dan Roam and illustrated in his book The back of the napkin. Solving problems and selling ideas with pictures (Marshall Cavendish). It 's a powerful technique to develop the imagination that the author calls "SQVI. D" and is based on five antinomies : simply prepared, quality-quantity, vision-implementation; individual-comparison, changing the status-quo. In it you use the very basic hand-drawn on which I ask you not judge me by an artistic point of view ;-)

The first illustration allows us to go to the bases of problem telling that the letter is only a problem (or something similar) to tell. Nothing more and nothing less. The problem telling helps you do it in the best possible way.

Telling a primal problem implies at least two aspects: the problem by telling and those who tell it, the context if you will. Start with these a path whose initial distinctions general steps shown in the next illustration.

Addressing a problem is very often develop new ideas on it, new solutions, to imagine things that would not have suspected at the beginning of thinking with the help of lateral thinking of Edward De Bono illusion or thought that Matthew says in his book Rampin Think like a wizard (Ponte alle Grazie). Perhaps we need to also change the requirements and then get to do something unusual, if unforeseen at the beginning seemed to be no hope.

But we need a good Gantt to plan the stages of our work, reduced the bone, are:

• the setting of the problem, its definition as we are taught mainly Umberto Santucci ;
• map of the problem with the help of mindmaps and concept maps ;
• stories and languages be developed, thanks to the techniques of the mprovvisazione theatrical ;
• briefings for those who plan, how and when to tell;
• feedback of our work.

But where are we heading? We want you to jump the obstacle (the problem) that is before you. It is not necessary to be Sergei Bubka to do that sort of jumps. Problem With Telling discover that the obstacle is in front of you right there to encourage them to jump and if there was it would be worse because they'd be lazy not to develop anything new, do not walk either. If your problem is not an obstacle you can overcome, but then something really is not an insurmountable problem, but something else in the problem solving is not concerned. But before you say that you're sure you'll have every tool, every technique and above all attitudes of mind to jump from the samples, because the problem is actually something that is in our minds.

I know that if you face your problems and above all narrate you are a cold sweat, your mouth is no longer able to give saliva and you feel suffocated . You are easy prey to your emotions and it is good that this happens because in reality the emotions you are friendly and it is thanks to them that we learn. I never thought of? L ' meaningful learning teaches us just that negative emotions are not important if you want to learn. Therefore you need to learn to know and to use. As you must learn to distinguish problems from the goals, which are not the same thing, or the condition or conditions, which often can not change.

Seek Problem Telling means making your problem a treasure hunt whose adventure many people as possible want to live. Not only at stake because there's quite a haul to find but also because we live the problem as a story where no one is supporting actors but to become protagonists, a bit 'as if instead of remaining in seat page after page to find out who the murderess is entered in the yellow in the role of the investigator. Telling Problem is then synonymous with not a solitary adventure, sharing opportunities and resources. Then we are light years away from sellers who call us home, we stopped in the street, which bombard us with advertising. Here we are in the territories instead of a social marketing you do, well beyond the permission marketing Seth Godin, well beyond the condivione more or less successful social networking: here is an adventure together, and what an adventure since it is their wonderful adventure!

Want to learn more ? Here are some pssibilità:

• visit website ;
• subscribers blog feed ;
• subscribe to group ;
• read a short publication ;
• write for talk about it.