Togetherland: Transmedium Productions, IRG and Regenerative Film (Draft Presentation)

Bret Warshawsky, and I'm here to— So what I'm here to talk about tonight is a project that I call Togetherland, and what I'm wanting to do is weave together, synthesize, or synergize a few different topics, a few different pieces, a few different elements, which I'm gonna get into in this presentation. And I feel like for this presentation I'm just kind of going to go quick, possibly, and instead of going too deep into any one element as a first experiment. So here I've got listed on the screen some of the elements.

One—

and I'll explain these as I go through— one of them is called regenerative filmmaking, one is called transmedium production, one is called IRG, Infinite Reality Game, and that's coming from the idea of an ARG, which is an alternate reality game, which is something I'll talk about very briefly. Um, then we have spiritual philanthropy, which is my life's work. I'll share a little bit about that. Then you have gift civilization and light speed innovation and planetary transition. So I'm just gonna see if my computer is working here. Okay, there we go. So anyway, I also put a link to these slides in the Facebook description in case anyone wants to go in there later or some other time and leave some comments or feedback. You've got my contact information in there, and then a little brief note, uh, which is basically my stance on open sourcing things or sharing our creative collective works. And my basic perspective is I don't really want to enforce licensing and have ownership or control so much, but I do appreciate honor— honoring source points and, and create— creators and creative, creative people. So basically, I ask anyone who might take inspiration from my presentation, if you happen to go off and create a spoke of something and you you know, are using specific terms that are kind of unique to me or ideas that are unique to me, they're not mine to hold on to, but I would love to be attributed or, you know, in whatever work you do if you take some of these ideas directly. Um, if you just get inspired and you kind of spoke off them, that's awesome. I'll be happy to know about things and co-create. I'm interested, you know, at the, in the, at the level of unity and synergy and of us here as a spokesperson, as a weaver, as a catalyzer of some of these ideas here. So I don't feel like my role is to create a specific element here. It's almost like my role is to be a politician with the platform of transmedium production of spiritual philanthropy and the overall concepts and realities coming into the world. So just wanted to share some of that. All right, so the first big question I hear— I have here, and this comes from an article called Secret Behind Star Wars Inspiration, is what the big screen, quote unquote, can truly create. So I'm just going to read this. I'm not going to do this throughout the whole presentation, but I think I'm going to read this for the vocalness of it here. So I was reading this article and it says, quote, Marcia— and it was George Lucas's wife, I believe— nodded and offered more context. She said that the big screen should be used to deliver important messages to audiences and tell a more spiritual story, one that has a good foundation in the truth, not just another director's dream. Well, I'm putting forth the proposition that the big screen can do a heck of a lot more than deliver important messages and tell a spiritual story. In the modern times, in the 2020s going ahead, the big screen film production for me can play a massively pivotal role in delivering new realities, in delivering a more beautiful world, as people like to say, in delivering solutions. So it's not just about delivering a message anymore, or just a story, or a projection of what we want to be or who who we want to be or what we want to create. We don't need to have a fake set of The Matrix or Tomorrowland or some utopia when we can actually use film production and film and other mediums to actually deliver these things. So for me, film is a pivotal role— film production— in getting to the ultimate infinite reality game, which I use IRG as an acronym. And I'm going to explain where I'm getting IRG from. Coming from ARG. So the other question I'm going to be asking when I have these more conversations is, what does it look like and feel like to uplevel film production to its most wondrous possibilities as a pivot point for social action? And I want to stress that for me, film production and what I'm going to talk about as in regenerative film production is a pivot point. It's not the only answer. It's not the only thing I'm interested in. But I see it as a pivot point, or as Buckminster Fuller, you know, quoted, came with the idea of trim tab. And forgive me if I don't get this exactly right, but a trim tab is a little thing that makes a big shift in a big vehicle. So the big boat has a, you know, the rudder, and then there's a little rudder called the trim tab, and it's that little rudder that actually moves the big rudder to get a ship to completely turn direction. So If the world as we know it is the current ship and we have all of these SDGs and things that people are assuming are the rudders that will change our direction, I'm saying no, there's a trim tab, a little thing. And for me, film production could possibly be that trim tab to get into a bigger story here. So where am I getting IRG from? There's something out there called an alternate reality game, and I'm just going to read this as well. And it, in short, and this is from Wikipedia, alternate reality game is an interactive network narrative that uses the real world as a platform and employs transmedia storytelling to deliver a story that may be altered by players' ideas or actions. And what I'm doing is I'm substituting some words here. So by the way, alternate reality games have been used, as far as I understand it, for the most part in marketing Um, and advertising. They've been used by companies and also by artists like Nine Inch Nails. And then of course there's some more arcane, occulted, you know, avant-garde alternate reality games. And of course there's many— there are many people that would basically say modern propaganda, probably going back to the 1920s or whatnot, and obviously before that, that modern propaganda and information and everything we're all experiencing right now is actually like an alternate reality game. And I recommend people just go look up alternate reality game. So what I'm saying is let's go from alternate reality game to infinite reality game. And in short, an infinite reality game is an interactive co-created reality that uses the imagination as a platform. and employs transmedium production to deliver an experience that may be altered by players' storytelling and actions. So if you see what I'm doing here, I'm not saying it's an interactive network narrative, I'm saying it's an interactive co-created reality, and it doesn't use the real world as a platform, it uses the imagination. And instead of employing storytelling It employs transmedium production, which I'm going to share about, and it doesn't deliver a story altered by players' ideas. It delivers an experience that's altered by players' actual storytelling and actions. So what I want to do here is simply uplevel the history and premises of alternate reality games into a new, more vital, purpose-driven, life-enhancing vision of an infinite reality game. And it's driven by this transmedium production paradigm that I'm gonna talk about. Because I believe, and I know, and I— at least it's my excitement that we can do better than simply delivering a story or a product or a message. We can deliver a more beautiful existence that works for all. And obviously the time is now. So where I got the— excuse me, I'm just gonna hide this floating panel thing in Zoom. It's bothering me. I'll get it out of the way anyway. Okay, sorry about that. So where I got this idea and the title of Togetherland— so I'm part of a project that uses the word together, so that's going to be a subplot of what I'm up to here. There is a movie called Tomorrowland, and the final scene always gives me goosebumps. I love the final scene of this movie and what George Clooney here says at the end. And I'm probably just going to play this scene because it's only about 2 and a half minutes, and it'll break up my voice for a little couple minutes. He says, you are much more than that, so go out there and do what you would have done Find the ones who haven't given up. They're the future. So the theme for the IRG to me is sort of around this, finding the ones who haven't given up because they're the future, and going from Tomorrowland to Togetherland. And really, I would love to almost just make a sequel to this movie that picks up off on this last scene. But rather than it being a normal theatrical sequel, it's an infinite reality game sequel through transmedium production. So I'm just going to play this scene. Hopefully the audio is going to come through. You are much more than that too. So go out there and do what she would have done. Find the ones who haven't given up. They're the future.

Hey!

All right, so suffice to say, if you notice in that clip, there's people of all ages, all colors, all cultures, across all disciplines getting that token, that symbol of T for Togetherland in my movie, in my infinite reality game. And waking up in this cornfield with that future right there. So we have the Togetherland infinite reality game. Okay, I'm just gonna go on. All right, so what it is— what is regenerative film? I have a concept called the end of the celluloid footprint. So if anyone's not familiar, traditional film was made out of celluloid. So what I'm doing is I'm taking this idea of celluloid and then the carbon footprint. I'm using the inspiration of the carbon footprint. So the carbon footprint is the amount of carbon dioxide and other carbon compounds emitted due to the consumption of fossil fuels by a particular person or group. What I'm saying is the celluloid footprint is a metaphor, and it's a metaphor about the amount of resources emitted due to the consumption of major motion picture productions, both by the consumers of the films and the producers of the films in these productions. And I'm also making a juxtaposition between the status of mainstream film production to fossil fuels. And what I'm saying is that mainstream film production, it's fossil-like, it's antiquated, and it's unsustainable to continue producing films in the silo of entertainment and profit and even social good compared to shifting into a more unified whole systems and regenerative paradigm where filmmaking and its consequences are positioned within a wider and deeper systemic context. This is where the regeneration comes in. We want to expand and grow and sustain and regenerate life itself and our planet and our, ourselves. So there's a deeper context now for all, all things in life. We're even seeing that with the COVID now. There's just a deeper context. that we can look at. And I'm putting forth the proposition, obviously, that because human beings are ultimately brilliant and altruistic and innovative and adaptive and loving, there's no reason on this earth why we cannot find a new path and a new role for film production that not only retains entertainment and educational value, as it always has and always will, But it also fits completely in— it's also completely, excuse me, in harmony with the greater truths of life and planetary solutions. Film production, and of course art and many other things, can shift into this deeper, higher systemic impact. So Togetherland, the IRG, is a regenerative film project. Now here's a slide I need to work on more, and I was going to give some kind of facts and figures about the celluloid footprint. Obviously there's thousands of films produced around the world every year. It's safe to say billions are invested each year in producing films, I would imagine. Who knows more? I need to do the research. And I'm asking, what is the legacy of these films? What's the legacy of the resources and energy invested in them? What has been given and nourished in these productions compared to what has been extracted and consumed? So there's a lot more here for me to get into in a more sort of academic way. So what are these transmedium productions I've been talking about? Well, this particular production, as I stated at the beginning of the presentation, really revolves around some of my passions, which is a synthesis or synergy of film, massive live music benefit events like Live Aid, the Free Tibet Festival, a rebirth of philanthropy— excuse me, philanthropy and planetary cooperation, and really whole systems innovations and solutions. So this particular transmedia production is focused on these elements. So what is this regenerative aspect of Together.Land? Let's just keep it simple. We're going to get $500 million, just like the Avengers movie might have, for production and marketing. We're going to use that $500 million a lot differently. So first of all, we're going to use the production budget to quote unquote buy the land, buy and build the props, and buy and build the sets, and we're going to stage a massive benefit music festival. And part of any partnership with all of the co-creators and the crew and the cast members and the actors and all of us and the producers and directors and film— excuse me, the cameramen, etc.— we're all going to be involved in a decentralized and cooperative stewardship of all of those sets and props And land and locations and IP that we all put into this production. In this way, we're actually building quote-unquote real locations with things like housing, aquaponics, hydroponics, healing modalities. What we're doing is we're creating a regenerative, healthy value because after the filming is done, Unlike a traditional film, the locations that are left behind are co-owned and co-governed collectively and unitively by all of the participants and the world. We're going to build regenerative eco-city communities and villages demonstrating alternative energy, organic healthy food, and every paradigm-shifting technology in the world— spiritual, mental, physical, emotional, material. We're going to build Togetherland using film production and film production budgets. We're going to sell tickets to the Togetherland concert, and we're going to use all the funds that come from selling tickets and t-shirts to that concert and put that into the pot and keep building regenerative living and educational locations. and innovations. In this sense, we're on a mission of regenerating and revitalizing our civilization. It's an infinite win for people, planet, and life itself. There is no question to me that we can transform easily a major film budget into a regenerative initiative that 100% entertains audiences as much as any movie out there that has ever been made. And it provides massive positive, beyond disruptive, it's positively synergistic, unitive impact on the world. Because there's a new frontier available to all of us right now where every choice and every action in the world becomes more creative, more conscious, and creatively driven from holistic perspectives. So in the spirit of transmedium Inspiration. This Togetherland is an infinite reality game. What I mean by transmedium, I'm gonna get to still, but what we're gonna do is we're going to release Togetherland as an event, as a film, using virtual reality, augmented reality, laser projection mapping events, live events, IMAX, social media, blockchain, everything you can think of. And once this story is released, it's going to evolve for years, and it's going to invite all beings to come in and be part of co-authoring that story in our world together. This is a truly global event using story and film and music. It will clearly transcend all boundaries and catalyze cooperation, healing, and collective innovation. This is alternate reality gaming to the maximum. This is how we actually play and entertain and celebrate our way to more beautiful existence. And for example, we can solve every SDG at once, literally. Benefit concerts raise billions of dollars in capital and resources and influence the planetary psyche. We keep staging them in response to diseases and disasters, to recognize atrocities or similar. Well, it's time we held a benefit festival in the name of love, innovation, and unity. It's time we generated donations and awareness and projects themselves that can be shared philanthropically into an ecosystem of people and projects and missions which are working in synergy from a whole systems and interconnected lens. And this is just a little bit more on what I mean by transmedium productions. So a medium actually refers to the materials that we are— that we— that are used to create a work of art. And the plural of medium is media, actually. I didn't know that. So although transmedium, the word, could technically and simply be the singular to the word transmedia, I'm using it differently. You see, transmedia generally alludes to what we're used to. prose and graphics and animation across multiple platforms of social media and emails and things like this, interactive that way. Clearly, transmedia is highly associated with digital technologies in popular, in popular culture. You know, obviously Marshall McLuhan said the medium is the message, so we're talking about transmedium Across messages, for one thing, and across all materials that are used to create works of art. A transmedium is also a psychic who crosses between the natural and the supernatural. So what I'm saying is all mediums are on board— robotics, 3D printing, permaculture, education, economics, spirituality, AR, VR, Hollywood films, social media, AI, laser projection mapping, indigenous wisdom— these are all mediums. We are mediums. Our consciousness is a medium. So we're not just using digital storytelling, we are using all materials available to create a transmedium production across and beyond anything the world has ever known. We can integrate science and spirit, and we can create a tapestry that crosses all boundaries. It blurs all the lines, and we go into the imaginal realm. And that's what it's going to take, in my opinion, to get the ship, spaceship Earth, into a trajectory that's actually manageable. So what I'm saying is the world we know is outside, that we all agree is sort of physically there, is natural reality. And you've got all of these other materials and mediums, and if you add them all together, put them in a bowl, and something new comes out of it, that new thing is IR. It's infinite reality. So transmedium productions are infinite reality based. They're, they're therefore, they're the cutting edge of literal creation. They're also the next step in storytelling, communication, and art. Now I just say, imagine Togetherland debuts on a certain date. Imagine people gathering at waterfalls in cities and locations like the pyramids where a new Live Aid concert is being projected onto the waterfalls, onto buildings in every country. On the same day, it's being projected in IMAX, on laptops, VR, AR. And then new films, they follow all the time. Next week, the next week. People are using Holochain, blockchains, Twitter, Facebook, all as part of the Together-led Infinite Reality Game. Once this seed transmedium event is launched, it's a type of singularity. The story can only bloom and expand like the universe itself has been doing. And the planet? All of these avenues All these people turned on and tuned in, co-creating, able to contribute their genius and their hearts and their resources. This is, this is the real singularity to me. For me, the transmedium age is a portal into our wildest and most creative and loving possibilities. And let me tell you, it's inevitable. It— this is inevitable. Inevitable. So if we're going to do this, if the world is going to do this, let's lead by example. Through compassion, co-creation, and love-filled imagination. Then I asked, what is an actual transmedium screenplay and treatment? Well, that's a really good question, and I'm going to skip it for now because I want to talk to a lot of people about that, because there really is no screenplay or treatment for this. There's many screenplays and many treatments and many stories. How will we actually coordinate And self-organize and share an infinite reality game? How will we coordinate and organize people and share intellectual property and share roles and tasks and create villages and sets and all this? Well, the project I'm part of, the Together Life System, has some answers, and I've got friends all over the planet that have answers to this, and friends of friends who have answers to this. So that's another conversation that we're gonna all start having as well. And how are we gonna fund this, right? The big question. Well, My life's work is called spiritual philanthropy, and spiritual philanthropy is not woo-woo. It's not the word spiritual as an adjective in front of the word philanthropy. It means something. Philanthropy etymologically means the love of humanity. I'm saying that spiritual philanthropy means the love of love, and I'm going from a traditional ROI, a return on investment, To something else. A realization to the power and degree of a central I, who we are deep down, beyond the stories, beyond our egos, beyond our, our wounds, beyond our— all the stories in our head. There's an I there, a childlike, beautiful, innocent, timeless being, being awareness. And a realization to the power and degree of that That's what I want. I want a realization of my intentions. I, I want a realization of my imagination. I, I want a realization of my integral investment. I— this does not discount money. It transcends and includes all forms of wealth. Integral wealth, as our friends at Village Labs once said. There's many streams of wealth. Money is but of one. Money is included, transcended, and included in spiritual philanthropy. So for Togetherland, the greatest outcome possible would be finding co-creators and spiritual philanthropists who resonate with this kind of production. Spiritual philanthropists understand that we're all holographic representations of each other and that what you want to invest in is in consciousness itself. That we invest in consciousness, in the ground of being. Because when we do that, when we nourish that with love, people and life thrive. They produce, quote unquote, beautiful innovations. They work hard, quote unquote. No one needs to be cajoled or demanded to earn a living or work. People don't just get lazy when they're taken care of. When people have what they need to thrive, they don't sit around. They discover and find their purpose, their love, their passions, and they execute them. They go out and they create. So this kindred spirit is kindred community of spiritual philanthropists is what I'm invoking. Spiritual philanthropists also know everything is important: your time, your skills, your resources, your connections, your money, your houses, your cars. It doesn't matter. There's many ways to. To give and many ways to receive. We're out of the money paradigm as being the only hammer that sees a nail everywhere. And of course there is money involved, and some people are so abundant financially and emotionally that they can help produce. They can give things like locations and houses and land and their services and their connections to people. And they do this for self-realization and self-transcendence, and this includes a return on their investment. The invitation here is to use our integral wealth to do something amazing for people and life, and setting a precedent for film and history itself. In this case, there's no need for traditional film producers, and all profits and generated value will be shared and integrated by the whole. rather than return to singular investors. But in integrating that, in integrating the value into the whole, I'm not talking about the Borg or some homogeneous thing. I'm talking about creating a level of abundance and prosperity that is almost unspeakable. So this project, as far as I'm concerned and how I'm involved in it, will be based on spiritual philanthropy. And I more than welcome people out there who Are abundant enough to share locations, sets, housing, skills, and money. We are going to need money, yes, to be part of the equation. Pre-production needs for Togetherland, an infinite reality game. Because of the nature of infinite reality games, a bootstrapping pre-production budget when it comes to money is $2 million USD. This is sufficient to get the game up and running and to magnetize the future funds and resources and the media momentum for full production of the Togetherland IRG. Immediate other resources that are important are places where people can live healthily and eat healthily and be around community healthily. The projected full monetary budget is $350 to $500 million USD in league with productions like Marvel films. It's no big deal. Because of the nature of transmedium productions and regenerative filmmaking, we don't need all of these funds at once, but we do have that intention. And finally, I'll end with why philanthropy. So I've got some quotes here from The Gene Keys, which is a powerful transformation tool full of wisdom. And what we're talking about here is the power of philanthropy as a worldview. Not as an NGO engine, not Bill Gates or other people having their brass pictures on the wall or writing off taxes. There is a power of philanthropy as an actual worldview, a gift paradigm, a love of humanity, a love of love. How else are we gonna Change this world if not through the power of philanthropy? We come to experience the mystery of Philos Anthropos, the pure love of humanity embodied in the principle of philanthropy. All of life is now seen as philanthropic, constantly giving its own essence back into the whole. The mathematics of love are built into the structure of all life. But only when we discover these laws will human beings realize their highest potential. The realization of the divine law of philanthropy, the love of humanity. Philanthropy unlocks the secret of free energy because it gives selflessly of itself and it gives intelligently. So I'm calling on all spiritual philanthropists of the world and traditional philanthropists of the world to remember To give without awareness is charity, but to give with awareness is philanthropy. And the awareness here is that we can transition this planet at the speed of light, working together, thinking outside of the box, and producing a Togetherland infinite reality game. Universal love descends into humanity. Our urge to escape our own shame through selfishness and greed gives way to feelings of great joy and self-love. The most successful businesses of the future will be based upon synergy. These kinds of businesses will no longer be based on competition and fear. They will be transparent and highly efficient. Money itself will eventually come to an end. When this finally occurs, it will be the greatest symbol of true freedom that our planet has ever manifested, and it will inspire a worldwide celebration the like of which has never been known. Let me tell you, Togetherland IRG will be responsible for participating in money coming to an end. And let me be clear about something. This is not because I hate money or because I'm poverty conscious or because I think money is evil. It's simply because we have better solutions now. We don't need money any longer. Yes, we can use it now as a bootstrapping mechanism, but it's going to come to an end. There's a song by David Bowie from the, I think, early '70s called Memory of a Free Festival. Well, at some point during the infinite reality game, We're gonna have this worldwide celebration unlike anything anyone has ever known. So I'm asking people to step into the preposterous, because some of the most important changes in human society and history have arisen from things that were thought to be totally preposterous. We must explore, as this man Joseph Bohr said, the vast territory of preposterousness. As Russell Brand here said, we need a total revolution of consciousness in our entire social, political, and economic system is what interests me. It interests me too, Russell. And he says, but that's not on the ballot. It doesn't have to be on the ballot because we're going to do this ourselves and we're going to do it together. Thank you for listening, everybody. After that, and I really thank you all so much, we'll play Luck is nice. We know the good things are coming.

I believe in the good things coming, coming, coming, coming. I believe in the good things coming, coming, coming, coming. Out of darkness, light are pumping, pumping, pumping, pumping. Into white light, all things running, running, running, running. Who have I been? Who am I becoming? Coming, coming, coming, coming. Deep breaths for a young man learning, learning, learning, learning. Take a walk with the cedars, I'm in. Cityscape pink, sunset stunning. Every empty space is filling. Every fire kindle burning. I believe I believe in the good things coming, coming, coming, coming. I believe in the good things coming, coming, coming, coming. Said, I am no master, I know nothing. I am no master, I know nothing. But I am a servant and I know something. Yeah. I am no master, I know nothing. Nothing, definitely still young. Built on hunger, so fucking stubborn. A lot of self-work undone. I am a witness to the life of one who carries all his secrets in the music, music, music, music. Ow. More pages, more words to my story. More grace, more meaning unfolding. More grace, more meaning unfolding. More grace, more meaning unfolding. Take a drive, green forecast, Lydia. Feel the warmth in my cold already. And 2 shakes and I'm feeling weightless. Heartaches, but it's actually painless. Take a vow under pale moonlight, moonlight, moonlight. Moonlight, moonlight, moonlight. Take a look at myself through my third eye, third eye, third eye, third eye, third eye. Everything's already alright, always alright, always alright. Hey, hey, hey, la la la. Hey, hey, hey, la la la. Hey, hey, hey, la la la. Black as night, I'm black as night. Black as night, I'm black as night. Black as night with a little bit of light. Black as night. Black as the night with a little bit of moonlight. Black as the night with a little bit of moonlight, yeah. Black as the night with a little bit of moonlight shining from my center within. Sharp but pretty and smooth to the touch. I'm a dark little cinnamon man, it's part of my makeup. Uh-huh, uh-huh. Never mind the nightmares, I was gonna wake up, wake up, wake up, wake up. You got the keys. You got the keys. You got the keys. You got the keys, you got the keys, but I'll never keep my door locked. You got the keys, but I'll never keep my door locked. You got the keys, but I'll never keep my door locked. No, no, you got the keys, but I'll never keep my door locked. You can always come right in. And if my arms are full, you can bet your sweet ass I will drop that shit right then. I might be busy, but I always got some time to surrender to your beauty, beauty, beauty, beauty. Lion heart pumping, pumping, pumping, pumping into white light. All things running, running, running, running. Took a bow under pale moonlight, moonlight, moonlight, moonlight, moonlight. Take a look at myself through my third eye, third eye, third eye, third eye, third eye. Everything's already all right, always all right, always all right. Said I am no master, I know nothing. I am no master, I know nothing. I am a servant, I know something. Yeah, I am no master, I know nothing.