A digital drama based on the reflection of our time. A performance piece where. Ex: One lies on the floor as if dead. The show begins with a heartbeat, a twinge, and in turns a soft rhythm into a frenetic bouncing on the floor becoming a tribal dance. Through a sequence of movements creating music and a variety of visuals that mix and intertwine from 2D to 3D to 4D. It is a merging and entering experience. Where the realm of the non-temporal, the time without time, when you stop for an instant and an eternity unfolds, is opened. Experiencing life all around round is a circumference of nothing. The absence of shape surrounded by minutes and seconds. As a girl I thought I could hide by closing my eyes. Is reality only physical? If everything can be numbered then it can be mirrored. If we can portray a biorhythm equal to a color sound or smell, we can then use color and free form movement to free the spectator from banality and let him detangle the common and emerge an artist. I should with the warp and the undefined make use of the auditor’s intelligence and natural instincts to place the pieces together and repair in their minds what is not as it should be. .
Inciting the public to laugh out loud or cry will stimulate endorphins. Alerting the mind with taste, audio, smell and upside down sideways glances of glimpses of dreams and excitement. I want to use the warp and the undefined to trigger the spectator’s intelligence and natural instincts. The need to associate and resolve in one’s mind will compensate for the lack of reality. For instance, a fresh leaf to crunch up and smell and a small doll to rip up its head. Then the frustration gets to an insane level. I want the public to work as much as the troop in order to unconsciously turn the key and open the door to their fantasies.
When individuals see an object live or virtual from a different perspective, that object is sure to be understood as 3D. Walking around or rotating it from all sides and in all possible directions reassures by creating within us a secure and founded eye. Photos taken for all viewing angles should help express 3D felt notion. Perspective is everything; the association next in line and the control must be left to the destiny. . Close to the center of an attraction, along the curve of what is incomplete, always moving towards an ideal does true thought emerge.
Inciting the public to laugh out loud or cry will stimulate endorphins. Alerting the mind with taste, audio, smell and upside down sideways glances of glimpses of dreams and excitement. I want to use the warp and the undefined to trigger the spectator’s intelligence and natural instincts. The need to associate and resolve in one’s mind will compensate for the lack of reality. For instance, a fresh leaf to crunch up and smell and a small doll to rip up its head. Then the frustration gets to an insane level. I want the public to work as much as the troop in order to unconsciously turn the key and open the door to their fantasies.
When individuals see an object live or virtual from a different perspective, that object is sure to be understood as 3D. Walking around or rotating it from all sides and in all possible directions reassures by creating within us a secure and founded eye. Photos taken for all viewing angles should help express 3D felt notion. Perspective is everything; the association next in line and the control must be left to the destiny. . Close to the center of an attraction, along the curve of what is incomplete, always moving towards an ideal does true thought emerge.
