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Contacting the performing art platform within questions and answers have shown results that are published in this menu issue.
do you promote the books on amazon with success? Which films were made? How does Elios Schastél connect Aristoteles (ethics) to god? What are global government heads? Who are they? Have Buffet or Helmut Kohl been global government heads?
with best Regards
the books are still on sale. The films are priorily about science fiction. One film production is coming into being. Philosophy as a science of the spirit as well as a theory and method of the spirit and a basic science of the spiritual sciences is a scientific method to make every entitiy and development beyond the physical being in a conceptual and theoretical way become accessible. Aristoteles’ image of god is more placed on earth than that of his teacher Platon was. The term global government head should first of all be allocated to a context to finally deal with a concrete definition of the term. In this context I do not define the term from a political science perspective. In the book the being of the global government head I approach the term from a metaphysical perspective or also a soul theoretical perspective. Refering to the question “Who are global government heads?” I would give the answer that they remain unrecognized in almost every case. Seen from a soul theoretical perspective the reason for this problem are missing competences and potentials to recognize it on other people. From this perspective I do not recognize Helmut Kohl with the potential of a global government head. Being put into a position is no proof of the existence of the necessary conditions of this term.
I have read your article about the book pilgrimage through Europe. It sounds interesting. How have you been on these travels? I also would like to go an a pilgrimage one day but I am not church. Must I be church for that?
The article was written due to the order to publish an article about the topic pilgrimage. Thereby the topics belief and religion, interior architecture of churches and the country as well as the humen should be included. Private topics including private diary entries should not be included due to the virtual publishing of the article and the privacy of the writer. Making a pilgrimage is indeed only recognizable when it is seen from a religious perspective or at least for reasons of belief. Mere hiking, fitness, self-discovery experiences or more reasons are no sufficient conditions of a pilgrimage. To answer your question you must not be church. Yet Religiousness, religious interest or at least reasons of belief are necessary conditions to have the right to use the term pilgrimage.
I have read the articles about astral tai chi. I have also watched the films about astral tai chi on the youtube channel of Elios Schastél and on the youtube channel of astral tai chi. Unfortunately I have not read the book. Yet I do not have an overview of the “forest of terms”. It is spoken about dance, performance, tai chi, astral tai chi and astro chi. What exactly is the difference between the terms? I see much more connections and similarities. A short explanation could be helpful.
First of all there must be made short definitions to answer your question and to prevent misunderstandings in before. Performance is an artistic improvisational action or more specifically an artistic behaviour basing on an (abstract) imaginary object outside the subject or more specifically the artistic medium. Dance is also an improvisational act or more specifically a behaviour that bases on empathy. The differences between dance and performance in its most original word meaning are findable in the imagination, empathy and the artistic occurrence. In contrast to dance the performance is not necessarily dependant of empathy whereas dance is not connected to an imagination. Thus it is no artistic occurrence. When these terms are not definitely seperated from each other then they can also be very much connected to each other. The transition from dance to performance or from performance to dance is the percentage relation between imagination and empathy. The more there is the imagination and the artistic occurrence of an artistic medium findable in the behaviour the more you can speak about performance. On the other hand the more there is empathy and less imagination and artistic occurrence findable in the behaviour the more you can speak about dance. The features of dance and performance are no contradictions. They are in harmony with each other. They can even support each other. Thus you can also use the term performing dance. If the percentage of the artistic occurrence and the abstract imagination is greater then you can also speak about a dance performance. Both behaviours are not dependant of music. Yet in case of dance you often use the medium of music as a mean to develop empathy. If you want to get a better understanding of the term astral tai chi then you should make the term tai chi understandable first of all. Tai chi is a martial arts technique that was originally developed by an artistic medium in an artistic behaviour. The word chi means swing in the English language. The word tai points to the country where the chi was originally developed. The swing is developed by an abstract imaginary object or by a permanent repetition of an uninterrupted movement series like you can find it in tai chi chuan or tai chi 24. If the capacity of imagination and the education are missing then you only need to adhere to the already existing movement series. Then you repeat it as long as it takes until a chi arises out of it. In contrast to tai chi the astral tai chi is necessarily dependant of abstract imaginary objects that are placed outside the subject. These imaginary objects must always be of a good meaning. Thus the selection of imaginary objects is limited. The imaginary objects are dependant of the practicing medium. In contrast to the mere tai chi astral tai chi is not dependant of a country (look at the word tai in front of chi). The artistic occurrence and the behaviour can not be seperated from this practice. The term astro chi is also appropriate to make the features of this artistic behaviour become understandable by words. If I should have made the “forest of terms” to a logically ordered garden plot then you should have a better understanding of these practices now. I have only given you a short insight into the terminological definitions. Yet it takes years to understand these practices correctly and to practice them in an educated way. It is difficult, complicated and dangerous.
In your films I have seen that the portrait format was chosen. This is not the conventional way to publish a film. Why did you decide for the portrait format and not for the conventional way?
The portrait format and the horizontal format have a meaning in direction. I do not want to tell you the profound and complicated knowledge of direction. Yet I can give you a short insight into the rules of direction. Each shape, each framing, camera position, lighting setup, each object, colour, material, structure, living being, movement, sound, noise has a meaning in direction. This meaning can originally be traced back to a very holistic world view that is refindable in the meanings of shapes, structures, movements and effects in philosophy of science. Creating a picture or developing a moving picture where all contents are valid and conclusive is the task of a director. It is the task of a director to convey shapes and structures truthful (and aesthetical) that make a sense in philosophy of science. He speaks about entities and processes that are behind the matter. Conveying these entities and processes correctly and with truth (in an aesthetical way) with the help of shapes, movements and structures is education. The viewer gets educated without being forced to understand the backgrounds of this education. Due to the visual information reception the eye and resulting from that also the brain of the viewer is suggested by movements, shapes and structures that change the view and the way of thinking of the viewer. Due to the suggestion of direction that has taken place the viewer starts to understand the objects and the humen in his environment in a different way. This includes light direction, photo direction, film direction and further kinds of direction that have a visual effect on the viewer’s brain. I give you an example. Today you see the ideal of male beauty passing the street. You immediately understand this man as elegant, educated and with a good nature. After that you go into a cinema. You watch a movie where shapes and structures, light influences and movements suggest your brain. You do not realize that consciously. Then you leave the cinema and you encounter the same man from before. Suddenly you understand him as naughty, stupid, cocky, arrogant and disabled. Your changed view of this man is to be traced back to the wrong direction that has suggested your brain visually in the cinema film. The wrong direction in the film has caused a wrong perception and understanding of the objects and humen in your environment. Thus the task of a director is responsible and powerful.
Returning to your question about the portrait format in the films I was forced to select the portrait format. When you enter for example Christian catholic churches then you see portrait formats that speak about the being of the queen, humen, angels and kings. Categorizing the soul into truthful and correct formats belongs to the knowledge and tasks of a director. The films that you are refering to deal with similar topics. They partly depict biblical occurrences. Thus it was obligatory to select the portrait format. In direction the vertical format speaks about a topic that is no priority topic in these films. The portrait format is the only right decision to make a right direction in such films like for example story about the development of the universe (part 1), journey through the outer space (part 2) and journey through the infinity (part 3). The vertical format in these films would be evaluated with mark 5 in direction. Similar to the example from before it would be irresponsible towards the viewer.
How do you understand yourself in the speeches and film speeches that were published in the documentary film DVD and on the internet?
I see myself as a laborer and a service who must fulfil his orders with guidelines in a possibly professional and competent way. I am nothing. I am completely unimportant.
How do you understand yourself as a performer in dance and tai chi or, if I have understood it correctly in your last films, also in ballet?
I see myself as an instrument and a medium of no importance having a conveying function. You could also replace me by another unimportant instrument and medium.
Is it possible to categorize astral tai chi into the context of ballet?
Everybody practices astral tai chi in an individual way. Everybody does it in a way that is adapted to the individual education, aesthetics, expression and chi. It is also not obligatory to do it in connection to music. Yet the chi can more or less be adapted to musical works. Thus astral tai chi can indeed be categorized into the context of dance. Refering to ballet it can not be categorized into classical ballet but when you consider the three basic rules of the body posture in ballet (outward rotation of the arms, outward rotation of the legs and a dignified posture of the torso) then it can be ordered to professional ballet in connection to music. In professional ballet you only need to consider these three body posture rules and then you use your body to speak in a sensible way about imaginary pictures, high social stands like princesses and kings, soul, emotions and more. You make the same practice in astral tai chi when slightly adapting it to a musical work and considering these three posture rules. Answering your question there is no difference between professional ballet and astral tai chi when slightly adapting the chi to a musical work and considering the three basic body posture rules of classical movement technique.
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