VRasa at Leicester LCB Depot
public showing
After the completion of the workshops, an opportunity arose to showcase VRasa to the public at a platform called 'Deviate,' a digital art takeover event organized by DMU associates. The event took place at the depot, where the virtual environment was set up for public interaction.
The evening turned out to be highly successful, with approximately 12 members of the public actively engaging with the virtual environment and interacting with both the creator and the digital space. The participation included up to four individuals, including you and actor Rohit Gokani, who was employed to assist in showcasing the experience. The virtual performance ran smoothly for a duration of two hours, after which it had to be concluded due to battery limitations.
The overall response from the public was positive, and the event was perceived as a significant success. The experience not only resonated with the human participants but also seemed to carry a certain sense of both human and divine accomplishment, underscoring the powerful impact of the virtual performance and its ability to create a meaningful and engaging experience for participants and spectators alike.
THE LIMINAL MANGO
In contrast to my previous projects that centered on 3D models of historical sculptures, I chose a unique and symbolic object for my current work, one that carries inherent liminality – the mango. This fruit, renowned for its exquisite taste and sweetness, stood out as a perfect representation of the liminal concept. Its familiarity to everyone made it an ideal choice, a threshold-crossing element that bridged the physical and virtual realms.
During the workshops, participants were invited to engage with the mango in a multisensory manner. They were encouraged to savor its flavor before placing additional mangoes on podiums within the physical space as a form of tribute. This ritual was then replicated within the virtual environment, where scale 3D statues or models of deities were present. Virtual mangoes were placed in front of these representations, echoing the physical offering and creating a harmonious link between the tangible and the virtual.
The mango, as a liminal object, facilitated a unique and profound experience for participants, allowing them to engage with both the material and the virtual worlds, while also connecting with cultural and spiritual dimensions. Its ability to seamlessly transition between realms underscored the essence of liminality in the project and contributed to the overall depth and richness of the virtual performance.
VRasa Performance workshops
Final Workshop - Group Proper
During the culminating workshop, participants re-immersed themselves in the VRasa experience, now armed with a deeper understanding and familiarity with the virtual realm. This workshop served as a synthesis of their previous encounters, allowing for a more profound engagement and exploration of the liminal spaces created within the virtual environment.
Second Workshop - group - informal
In the second workshop, the participants and I delved into the intricate realm of the rasa theory. This session took on an informal and interactive nature, facilitating a deeper exploration and understanding of the emotional nuances and experiential dimensions embedded within the concept of rasa. Through discussions, activities, and shared reflections, we sought to decode the essence of rasa and its potential to evoke profound emotional responses within the virtual context.
First Workshop - development with Rohit Gokani
During the initial workshop, Rohit Gokani and I immersed ourselves in the profound concepts of the Natyasastra. Together, we navigated the intricate layers of this ancient Sanskrit dramaturgical treatise, exploring its teachings, principles, and performance techniques. Through dialogues, practical exercises, and creative experimentation, we endeavored to extract the essence of the Natyasastra and decipher its relevance within the contemporary virtual realm. This workshop marked the inception of our journey to bridge the timeless wisdom of the Natyasastra with the innovative possibilities of virtual metatheatre.
The Metaverse and the Metatheatre of Ancient India
Having an amazing amount of fun with Midjourney AI on discord first 25 images free. Heres some imagery creatred around my working PhD title. 'An Odyssey into Stage 3.0 - The Poetics, The Natya Shastra, Fūshi Kaden and the virtual intelligent stage.'Midjourney AI#aiart
BOOKS OF CONCERN
The Messenger of the Death, created in Unity with freely available assets.
The Messenger of Death
Using AI text to image to help imspre imagery
.jpg?etag=%224712-62f8ea67%22&sourceContentType=image%2Fjpeg&quality=85 "download (1)")
.jpg?etag=%223a5b-62f8ea68%22&sourceContentType=image%2Fjpeg&quality=85 "download (2)")
Correction
The Courtesan Aesthetic
Western Scholars translated Bhagavajakkum title as the "Hermit and the harlot" from watching this Youtube Lecture I now know this to be false.
https://www.youtube.com/watch?v=dkr_bmKbi8U
Lecture delivered for a workshop on Sanskrit Drama
by
Radhavallabh Tripathi
Whilst sitting in the garden musing o style or 'Vritti', a butterfly flew past me Delighted to find out there is an Indian butterfly called a Courtesan.
Natural calamities like earth-quake or drunks in the audience are another cause of failure
Bharata Muni
What is being asked of others
Questions, Questions, Questions?
05/08/22
Based around your liminal concepts what are you asking people and yourself and and...????
God mode? develop question?
Does it rely on liminal success?
Religious/freedom/cultural?
How strongly do you feel watched?
Sectator vs divine?
Watching versus experiencing?
Sexual overtones - for a reason, making love or performing sex. When people connection is interruped by their own spectatoring ?
Can the liminality in virtual theatre deepnen?
What is the ontolohgical importance in theatre that crosses the virtual divide?
divine?
Liminal transport?
Can it change perceptions?
What is the connection between analogue virtuality and the digital synthesized virtual reality?
presented in a new media?
do you feel divine?
do you feel a change in your perception?
Was the constructed narrative more effective in delivering its method in this medium?
How far removed were you?
a sliding scale?
Have you gained an understanding of Rasa theory?
It is suggested Limnality, the concept of moving from one 'space' to another and acknowledging the tranistion between?
Divine theatre versus Virtual theatre?
Divine approaching divinity through theatrical or perfomative transition is akin to approaching understaning through virtual theatre transition?
Would you agree the liminal space of divine theatre the same liminal space we create in virtual theatre?
Acts of divinity religious virtual is to understand the nature of reality, theatre is a continuation of that liminality and virtual reality is the step further in synthesizinfg that reality?
The commmon space throughout is the liminal space the transition place, where plays are played out, where arguement are argued where fights are settled where loves are lost, where we come away changed?
Is the liminal space of virtual reality the same space divine divide reached for ?
Virtual reality and the divine divide, the other place, can we layer our divides is it where change can happen?
Through the rasic sensations are you further entrapped in the emotion?
Trans, religion, avataranthrophorphism?
Divine theatre?
The liminal space is the space of change, therefore can we engineer our own change by engineering our own liminal space to a greater degree?
Did you feel inhabited by your avatar?
Has this experience shifted your perception on reality at all?
Have you ever tasted plamyra fruit?
Can you taste the mango?
What is the liminal space made of?
Did you underatnd the narrative presented in the space?
I posit that the liminal space of Virtual reality is the same source of theatre and the divine, it is a place of change development?
By overtly recognising the liminal space across the frontiers of reality, we can adopt change?
Frontiers of collective reality
The Divine
The Theatre
The Virtual
Did the presence of others affect your emotion?
Did you find the farce funny?
"I’ve been reflecting on just this. Critical treatises on the drama have dis-tinguished ten different types of plays: the androgynous parent, nä†aka-prakara∫a,and its engendered progeny, the series, ïhäm®iga, ∂ima, samavakära, vyäyöga,bhä∫a, salläpa, vïthï, uts®ish†ikä≥ka, and the prahasana or farce.10 I’ve consideredthe respective dominant rasas of these ten types, and as I see it, the most importantone is the häsya rasa, which provokes laughter. Therefore, I’m going to put on afarce."
Bhagavajjakum
How funny was the experience?
Did you feel compelled to laugh?
Did laughter break your tether?
Did you laugh without caring?
3 rears its 3rd head again
29/07/22
On looking deeper at the ethnographic adaptation of eastern culture, from a western viewpoint, I have come to understand I am unable to to escape the framing of my work just as anyone is unable to change the colour of their skin. However a third way is to acknowledge and attempt further understanding rather than turn the other cheek and stop interaction altogether.
'Stage 3.0' as it was initially coined by me in this study was blind in the expression of technology. The further down this track it seems intrinsically linked to the cultural space as well.
From this point on my understanding of Stage 3.0 will not solely be the place of progressive technology but also progressive culture and rigour.
In my earlier studies in performance education I personally cocluded any real type of change in the performance world was that of further hybridisation culturally and technologically .
'The Third Space'
The location of culture
Bhabha, Homi K., 1949-
The third space discussed bu Bhaba as I understand does not have the binary understading of us here and them there but as a space we can enter on equal new ground.
I posit Stage 3.0 is that third space, a space we can leave our own places and join a new on fresh virtual ground, leaving behind the binary past as an early system we've outgrown.
This acceptance of decolonising my work also adds to its rigour and its newness, these things have been written about before but it is this new virtual space that gives us the third space discussed.
My anxiety holds even then my work may still seen as some sort of western colonial appropriation, but my commitment to a third space is a recognition and a further step to an equitable performance theory.
Interculturalism and performing ethnography are phrases I've come upon which seem to poke at the meaning yet still have a air of the western binary.
When considering the creation of 'The harlot and the Spectator', from now on THATS for short, a place of firm research, a deeper understanding of both Victor Tuner and Richard Schechner work, well established figures in the field of performance and ethnography, and the criticisms against them, will help build a better understanding of how to authentically approach the third space.
First decision to attempt the translate the rather boxes experiment into the virtual. This is a two pronged attack, taking consideration of both progressive technology and culture and the criticisms in this area so far.
Has Schechner responded to criticisms so far?
Walking Rasic Space: A Critique of Schechner’s “Rasaesthetics”
and
Felluss, S. (2021). Of Rasas and Bridges: Binarism and Sites of Hegemonic Contest in Richard Schechner’s “Rasaesthetics”: A Critique. Liminalities: A Journal of Performance Studies, 17. http://liminalities.net/17-1/binarism.pdf
Here are two papers by Scott Felluss who deals in these concepts.
Dreams and the metaverse
Liminal communitas helps to collectively face problems, by recognising those same questions asked/answered millenia ago we are able to draw inherent human qualities.
The metaverse is the ability to consciously dream collectively.
By immersing self at least in full sensory experience in a liminal space to constructed drama. The self takes a dress rehearsal without physical danger.
The blurring of theatre into computer games. Maybe part of the entirety performance studies as suggested by schechner is in part this coordination. And in fact to me it's all part of performance rather than solely theatre.
But here is the question of liveness. When the participant
Liminal through lines
Hello,
I think where I was floundering a little yesterday is I wasn't finding the throughline. after returning to notes in light of our conversations I feel Liminality was the unsaid through line.
When I consider my overall question of how the liminal practices of ancient theatre can inform the virtual stage of tomorrow.
It is the Rasas in the Natyashastra that provide the bridge to the nirvana space of an altered stage reality.
And so what I should have been able to articulate yesterday is How the Rasas process of achieving liminality, the other space, in the physical can inform the virtual stage.
-layering of reality.
Unity and VRChat update
Today I also spent more time on devfoliping my unity skills and developing my virtual spaces.
The milestone achieved today was to actually inhabit them in VR and get a sense of experience.
https://www.youtube.com/watch?v=4_OnzCpuCGg
Here is video of exploring early ideas of what a virtual rasa box workshop my look like.
This a video of me exploring my own first VR chat room, which I'm still devoloping.
17/06/2022
Full read through of the hermit and the Harlot
interesting revelations of time
from abortion to other technolgies or understanding.
excitingly the prologue is a discussion betweeen the director and the clown. before the play starts. we are already postioned in the liminal plane.
"director:That is a good question. There are about ten different emotions that you can convey in any kind of play, and fas as i can seee, good humour is the best, so I'll put on a farce'
although this play is truly ancient the elements of what we onsidere theatre seem to be all present,
The literary devices
are also greatly developed.
There is a Moment when Sandilya describes the Garden and goes on to name the exhaustive list of plants in the garden. Creating what must be a repetitive rhythmic sound. And also a grounding in the environments surroundings. This is after jocularly mistaking a peacock for a Tiger.
The story turns out to be the classical story of swapping bodies. The great yogi puppetteers the body of a dead courtesan after the servant of dead mistakenly takes her life, to teach his pupil a lesson, The servant of death teaches the yogi a lesson in turn by putting the soul of the Courtesan into the Yogi's body.
This swapping of bodies using of Avatars, in and out of planes of existence and healthy dose of humour ensures a rich stimulus for my continuing practice.
Rasa-Aesthetics or Rasic Space.
In my quest to find some path throug such a large subject as the Natyashastra, the added Veda to the sacred Hindu texts
, the Veda conmcerning aesthetics and performance in ancient sankrit theatre, and how I could utiliose methods within.
I looked for tother practitioners who had translated or at least interacted with the concepts from a western flavour of undrstanding.
Before diverting to the politcvs of colonialism and appropriation we are here to undrstand and utilize discovieries made.
Schechner, R. (2001). Rasaesthetics. TDR/The Drama Review. https://doi.org/https://doi-org.proxy.library.dmu.ac.uk/10.1162/10542040152587105
Richard Schechner in his paper the Rasaesthetics creates a evercise called the Rasa boxes wheres the 8 Rasa suggested by Bharat Muni in the NS are laid out in a grid fashion. Here the Actors are asked to inhabit and perform the Rasic emotion states.
https://www.youtube.com/watch?v=lFPupoTR91o
Video of Richard Schechners Rasa Boxes
" I turn to Anthropology not as a problem solving science but because I sense a convergence of paradigms."
In my Practice I hope to take this idea Virtual. At first it seemed it would be an easy fit. pick up a real world workshop and drop it into a virtual performance Space.
However have been doing further research and have understandably come across differebnt positions on how best to achievbe this one being the paper
by S. Fellus
Felluss, S. (2020). Walking Rasic Space: A Critique of Schechner’s “Rasaesthetics.” Liminalities: A Journal of Performance Studies, 16(1). http://liminalities.net/16-1/rasa.pdf
"his diffusion of intercultural performance should concern us as practitioners and theorists. Spaces designed for human action through the architectural process, on a fundamental level, are “containers” of human behavior."
p17
"Planning an architectonic is a chicken-or-the-egg process: the architect must devise a concept which, at the moment of its implementation, forever alters the ground upon which that concept was made."
p18
"If rasic space isto be fathomed conceptually and at once traversed physically, we must reconcile our desire for stability in an inherently uneven dimension. Only in this way can our clear plans for performance research reach a shared horizon of intercultural connection."
p19
This paper argues that what they believe to be an arbtitrary geometric grid shapes in the practice isn't true to the organic nature of the Rasas. They suggest a wheel like practice where actors or particiapent are free to walk in a cyclic motion adhering better to the rasa theory.
This crtiique of shceners work has not convinced that a wheel is needed but rather a contemplation of what is actually aprropraite to the virtual, since unity software can provide spatical elemts that neither of these approaches can.
In the paper it also suggests that the grid is a western imposition, I feel this to far however I note the rigidity of the concept.
there is also talk of how Peter brook discusses the empty space.
And Artauds immersion. There seems to be justification fo reviewing these modern practitiners in the face of their understanding,, sucha sthe fabled peterBrooks Mhahabarata.
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Abhinavagupta’s Discussion of Metadrama (c. 1000 A.D.)
"The abhinaya employed by those performers whose hearts are taken possession of by bhävas, that is, by the vyabhicäri-rasas (the subordinate rasas), along with their latent faculties(sthayïs), and who with absolute concentration are determined to capture those bhävas (in the form of abhinaya) – that is called abhinaya done through dhruväs(dhruväsu) or dhruvä-yöga-abhinaya. How (do they do it)? – (the answer is,) through an interrelated combination (paraspara-milana ), as if miraculously (käkatälïya-vaåät). The ‘play’ (abhinaya) which results from it is(called) ‘metadrama’ (nä†yäyita)'.
Lockwood, M., & Bhat, A. V. (2005). Metatheater and Sanskrit Drama Second, Revised and Enlarged Edition.
p45
This paper also discusses the concept of the pre and proper play
launching plays from within plays. Like in the Play I've selected, which is specifically discussed in this paper to my joy, in it there is a conversation between the director and student before the director invokes the play to teach a lesson, and the same actors then take on the characters in the play. Notably transitioning in front of the audience.
This is a convention used in many ancient Sanskrit dramas. This liminal tool could in theory used for further layering of reality within the virtual perception.
Ritual performance was emancipated from religion by theatre and now once again through virtuality?
5 months in .... 06/05/22
PhD summary
I'll try for the next hour to sketch out where I have been where I'm going and what I consider the essential questions of this research.
I started with an approach, with some ground already pre-laid with the journey of oddyseeus into Clyclops cave.
Cyclops write up
This was the first real writing done for the PhD, this was a sum up of the work made prior to getting on the PhD, however there was reasearch taken alongside this, although it may have indirectly informed some of my choices there was not an active approach taken to incorporate the theoretical research of and of the ancient treatise in the peice. There was however a a research informed retrospective analysis of the work which helped me direct and question where my next or indeed initial officially sanctioned steps may take me.
Initial Ideas and Proposals
It's often difficult to keep in line of key components, feeling like a child dissapperaing out of the view of their parents. having to be pulled back into the main ball pit when challenged.
State of Art
After Inital confusion of how this corresponds to a literature review, it's both; it's a study of both the peer reviewed literature and the curent or most imnportant work in the field.
This is also a living document which informs and feeds back in a practice based research PhD.
In terms of structure I have chosen to approach it with a chronological base and a thematic twist in places. due to the vast distance of time it seems wise to focus on a time based structure.
This being said I have chosen to front the first section with current work before stepping back through the years. to give the reader an anchor in the present. So far my work here has been mostly focused on current virtual work. some which show loose connections to my own, I was told by superfvisory team I needed to tighten and hone this part of my research.
I will now delve more into the speciffics of Sankrit threatre to direct my self to ward my first minor project, the Harlot and the hermit.
First project
My first project minor propsal is that of Bhagavadajjukam an ancient ealiest surving Sanskrit satire where a couple is trapped ain the afterlife and deal with the god of death. I feel this an apt play to focus on as it is mentioned in the NS and it bares striking similarities to the already explored Cyclops, it too is the earliest surviving greek satire.
Rasaethetics is a paper I am currently working through which explore the difference between Artistotles Poetics and Bharat Muni's Natyashastra. And ultimately tries to digest the natyshastra and the Rasa's from a western view point. within this paper is also practical exercises which focus on concepts of the rasas. in a considered way I intend to focus on this practice as a guiding concept. Using the exercise as tool for exploring the ancient text in VR.. What questions does this ask.
decolonizing immersion
With recent cultural shifts, there is an increasing sense to a appropriately treat work of cultural value with the respect it deserves.
That is in my idea not to be shunned or stayed away from but to enter into that respectful discussion of what tools are effectively used in performance. In a way I will be looking to secularise some of the work to distill the subject.
metatheatre in sanskrit theatrte
I am also currently reading through concepts of metatheatre in indian theatre, which seems to have a deep history. which according to some researchers is not necessarily true of western theatre. With indian dramaticss lending themselves much more to the spiritual while the Wests adoption greek democratic history is a philosophical debate less intwined with the supernatural but ultimately conceptual.
Unity and VR Chat
In terms of technoclgy which could be argued at the foreforent of virtual theatre. the process of building theatre in online virtual worlds at present is a the vanguard. This is also an accessible platform for artist come technologists who wouldn't neccesarily have the programming background and oppportunity if it wasn't for the latest shifts into artist accessible software. Implanting the Bhagavadjakkum(the hermit and the harlot) into this vurtual world while exploring rasa practice will certainly produce something nothing created bore but will also go somewhere to filling some of the gaps of how we approach new performacne sapces form a throretical and practical based way.
Themes and Gaps
Liminlaity
both a place of in between and there
spectator
Emancipating the spectator , the VR lack of gods
god mode- the secret is here to ontnlogy
community
joint networking Webxr
Using Udon in Unity for VrChat
Current Papers of interest
- Jens Kreinath. (2009). Virtuality and Mimesis: Toward an Aesthetics of Ritual Performances as Embodied Forms of Religious Practice*. Peter Lang.
- Sim, H. (2021). Seeing Alone Yet Together: Modern-day Tiresias in VR theatre. Performance Research, 26(1–2), 69–77. https://doi.org/10.1080/13528165.2021.195864
- Dougherty, C. (1999). The Double Vision of Euripides’ Cyclops: An Ethnographic Odyssey on the Satyr Stage. Comparative Drama, 33(3), 313–338. https://doi.org/10.1353/cdr.1999.0014
Epiphany
Narrative self and spectator
when you are addressed by a NPC or a character as a spectator without words provided it is your action and PRESENCE which are the answer. Even without real meaningful conversation or deep connection the relationship of question and answer is still preserved. allowing liveness in the moment. Your presence is the answer to the question.
08/04/22
Papers of Interest 03/04/22
Alland, Alexander. “The Construction of Reality and Unreality in Japanese Theatre.” The Drama Review: TDR, vol. 23, no. 2, The MIT Press, 1979, pp. 3–10, https://doi.org/10.2307/1145211.
https://www.jstor.org/stable/1145211?seq=1
Cseh, David S. “Reflections of Ambiguous Realities – A Comparative Analysis of Mimesis and Monomane in the Writings of Aristotle and Zeami.” SZITU Kötet 2017 (2018): n. pag. Print.
https://www.academia.edu/49044305/Reflections_of_Ambiguous_Realities_A_Comparative_Analysis_of_Mimesis_and_Monomane_in_the_Writings_of_Aristotle_and_Zeami
Metatheater and Sanskrit Drama: Part II
https://www.academia.edu/12366085/Metatheater_and_Sanskrit_Drama_Part_II
Some where amongst these papers and todays technologies are the gaps I seek.
Bhagavadajjukam
Bhagavadajjukam (Sanskrit; translated as The Ascetic and the Courtesan or The Hermit and the Harlot) is a Sanskrit farce composed in the 7th century CE, usually attributed to Bodhayana.[1] It is the earliest surviving example of a satirical play (or prahasana, one of the ten types of plays described in the treatise Natya Shastra) in Sanskrit literature.[2][3] Featuring witty exchanges, an episode about the transmigration of souls and a discussion on Hindu dharma, the comical play was intended to mock the doctrines of Buddhism, whose rise at the time presented a challenge to the dominance of Hinduism in India.[4][5](WIKI)
Bhagavadajjukam
This seems a very intersting piece of ancient theatre, actually supposedly featured in the Natyashastra. Also its focus of the transmigration of souls, evoking divinity. and alsofallin into the same category as other texts as a 'first', being the ealirset surving syrcial drama from India. This seems the perfect work to approach in my firtst project. This being said this is a highly cultural document and must be treated with utmist respect. research into apprpriate engagement will be sought.
The virtual rehab of Polyphemus and my dead father 03/03/22
Today I focused further on the wrting up of DOP , I was hoping to get further, but still I have made progress.
The more I write about work the more it feels I was bringing a sense of the personal into the piece. The parallels of emotional and physical Journeys taken in my life with that of the odyssesy are strangekly familliar.
I was also able to further expance upon the concept of the liminal object I feel a major chaptor going through.
I had a real sense today of identifying the future work and research .
Transitional Goop
The feeling when one focuses to much on all the liminal transitions employed in making work of a lininal nature. The over use of transient type words such as liminal. The fluid unease of everything just being part of everything, and the ick of being in an out of everything all at once. The viscous sluice in which reality sloshes and swashes down 'The Great Pipe', which is now my new description for the totality of everything.
Cyclops write up
Second part of the morning I printed off the virtual document turning it into a tanglibe element of paper to annotate with a pen, gso i can interface with it with a tactitle method before then, taking those notes back to the virtual paper now held online in office cloud where i corrected and elaborated on the text.
Event Hybrid Dionysisan
hanging a virtual light
Our hunt for the harvest is eternsal
what wonders will our digital harvest bring
Creating divinity versus capturing divinity
divinity of AI
place of interplay
The liminal object
expand more ...
Third Entry 18/02/2022
Google Jam
Started the day trying to Visualise some ideas going forward using Google Jam's simple clear interface to try work through some easier large core concepts and how they might be interpreted as structure.
Single Aim Slight Change 11/02/22
SINGLE AIM:
Through practice I seek to understand how ancient inherent theatre conventions inform the liminal practice of the future technological stage.
The Power of Three
In one way I am grateful for the volume of research my questions ask, although this can seem quite daunting.
The number three continues to present itself as a organising element.
I have decide to use this idea going forward in my project planning.
By employing three comparators along my research jouney I hope to keep my work streamilned and poignant
There are three pratitioners/philosphers with three treatise.
I choose to pick a convention/philosophy from each of these treatise which is somewhat available across all three treatise.
I will then create three minor works on three texts using the three practioners to question.
Todays revelation in the unification of virtual reality in space, time and matter.
image source: redbubble
The Virtual Trinity
Virtual Space + Virtual time + Virtual Matter = Virtual reality
Whilst writing up the Cyclops project I had an idea. When thinking about how to define liveness in Virtual theatre, I noticed by seeting ancient theatre in the virtual we are further corrode the real time line experience. By setting Cyclops in a time speciffic place i had created a virtual sense of time. I know myself I am experiencing the piece in realtime in a real place, but now I'm letting my self believe I am in a cave in another time.
I note to myself how my research recently has focused on the power of three to understand concepts or it's importance in so much thinking. If space and time where 2 components what was the third. Matter is the unifying componet. time space and matter.
"Einstein’s general theory of relativity can be summed up in just 12 words: “Space-time tells matter how to move; matter tells space-time how to curve”.
Read more: https://www.newscientist.com/definition/general-relativity/#ixzz7KazsEVab
This then reminded me of the stone cunefirom tablet I 3d printed for my previous virtual piece based on the epic of Gilgamesh. The audience where asked to interact with it while interacting with a 3d model representation in the experience hopefully tying some virtual matter down to a liminal anchor.
this is whati mean to investigat as virtual matter.
although a side question where does sound fit? Energy.
https://www.britishmuseum.org/collection/object/W_K-3375
Second Entry 11/02/2022
Todays Activities/movements
PhD office from 8:30 till 12pm
Mainly focusing on finsihing the CTeX learners agreement.
Set out times of future projects
further clarified single aim of research
Arranghed meeting with supervisors
12:00- 13:00
Lunch return to home office.
13:00 till 15:00
Cyclops write up
15:00 till 16:00
PhD blog
PhD Direction
Provisional Title of PhD:
An Odyssey into Stage 3.0 - The Poetics, The Natya Shastra, Fūshi Kaden and the virtual intelligent stage.
SINGLE AIM:
I seek to understand how ancient inherent theatre conventions inform the liminal practice of the future technological stage
First PhD Entry
Since I was a young practitioner I have been quite obsessed with the 4th wall, the liminal space between performance and reality or indeed between reality and the virtual.
My journey and transition to a digital artist from analogue mediums, from stage to computer from paint to pixel itself has been a liminal experience., and as I find myself in my early 40's as a performing arts technician researching the methods of ancient philosophers and pratitioners of the first virtual reality machine I feel I am that one step closer to my own personal answers.
Todays activities 04/02/2022
- Set up dachhu.com to create a new blog space, check!
- Obssess about general design of website and procrastinate, check!
- ...
