Page - 99 - in JRFM - Journal Religion Film Media, Volume 04/02

98 | Vuk Uskoković www.jrfm.eu 2018, 4/2, 83–113 being that not even the finest traces of submission to social standards could be found therein. Still, science is indisputably a social question and must be ana- lyzed from a variety of nonscientific perspectives in order to be approached in a creative fashion. For this reason, the narrowness and linearity of the scientific method followed by the academic masses is mercilessly fought against in my lab and classroom, all in an attempt to lift this new generation of scientists to the top of Bloom’s taxonomy pyramid, where the creative and the metacognitive in- tersect.38 As for (b), the aim has been to discard the old, rigid way of presenting science, be it in the written or the oral form, and substitute it with a style that signifies spontaneity and more veritably reflects the route to innovative ideas along the corridors of the human mind, which is such that it relies on analogies, poetry, swells of aesthetic senses and intuitive flashes of light along the way. As for (c), the idea that siding with the disempowered must be the way to go in my roaming through the chambers of the Kafkaesque castle that the Ivory Tower is has been another guiding light, the reason why everything, from experimental methods to research subjects to researchers and collaborators to research loca- tions to political voices aired through these lungs, has been adjusted to afflict the affluent and uplift the poor and the underprivileged. Last but not least, yet another thing Godard could instruct one in is atten- tion to detail, the awareness of the enormous power of the minutest of actions 38 Pintrich 2002. Fig. 8: 2 ou 3 choses que je sais d’elle (Jean-Luc Godard, FR/IT 1967). The final image, of a colorful graveyard composed of boxes of detergents and other inanimate denizens of supermarket shelves, epitomizes the essence of the deliberately shallow pop artiness; does it arise from a state of true enlightenment or from sheer stupidity and years of brainwashing with the surface values? Not incidentally at all, in this miniature model of a luxurious high-rise banlieue of Paris, itself a model of an alienating urban landscape, itself a model of modern society, one finds a box of Hollywood bubblegum.