#and ALSO its a non linear narrative that intertwines the present and the past and also

[iiusia]

this story is not only taking a life of its own it is Actively sprouting legs and running away from me

[pagebypagereviews]

In the suspense-laden atmosphere of Teresa Driscoll's "I Am Watching You," readers are instantly plunged into a world steeped in mystery and fraught with emotional tension. The novel begins with an unassuming train journey that quickly spirals into a complex web of secrets and surveillance. What follows is a psychological thriller that keeps you on the edge of your seat, compelling you to confront the dark side of human nature and the harrowing consequences of our actions—or inactions. Driscoll expertly intertwines multiple narratives, offering a kaleidoscope of perspectives that enrich the story while keeping readers engrossed in untangling the truth. What makes "I Am Watching You" especially significant is its exploration of the moral dilemmas and ethical challenges faced by ordinary individuals when they witness wrongdoing. It addresses the perennial issue of whether to intervene or to stay silent, a question that resonates deeply in an age where bystander apathy can have dire consequences. Additionally, the novel delves into the latent anxieties and fears that pervade our everyday lives, inviting readers to reflect on their own vulnerabilities and assumptions. By examining the intricate layers of guilt, fear, and redemption, Driscoll provides not just a gripping read, but a poignant commentary on the human condition. ## Plot The plot of "I Am Watching You" explores the mysterious disappearance of a young woman named Anna Ballard. The story begins with Ella Longfield, who overhears two young men chatting up Anna and her friend on a train. Being recently released from prison, the men’s presence raises Ella's suspicions. However, she struggles with whether to alert authorities or not. This decision haunts her when Anna vanishes the next day. The narrative structure is non-linear, combining past and present timelines, thereby building a suspenseful atmosphere. The plot is rife with red herrings, ensuring that readers are perpetually second-guessing who could be responsible, thereby maintaining a high level of intrigue and emotional investment. ## Characters Ella Longfield, the observer of the inciting incident, carries a heavy burden of guilt and responsibility throughout the novel. Her character's introspective journey adds depth to the narrative, allowing readers to grapple with the complexities of morally gray decisions. Anna Ballard, the victim, is portrayed in flashbacks and through the accounts of those close to her, piecing together a complex portrait of a young woman caught in unfortunate circumstances. Supporting characters such as Anna's friend Sarah, her father, and even the suspects, like the two men from the train, are well-rounded. Each character’s motivations and backstories are meticulously unveiled, ensuring that they remain relevant and multi-dimensional. This detailed character development not only adds layers to the mystery but also evokes empathy and understanding from the readers. ## Writing Style Teresa Driscoll’s writing style is engaging and accessible, marked by an evocative use of language that vividly brings the story to life. She alternates between different points of view, offering insights into the minds of various characters, thus enriching the narrative mosaic. The prose effectively balances descriptive passages with crisp, tension-filled dialogue, creating a rhythmic flow that keeps readers engrossed. Her use of cliffhangers at the end of chapters adds to the suspense, compelling readers to continue turning the pages. Furthermore, Driscoll deftly handles the deployment of psychological elements, using introspection and internal conflicts to amplify the tension and emotional weight of the story. ## Setting The novel unfolds in various parts of the UK, with a significant portion set in London. The detailed descriptions of locales such as the train, Anna's hometown, and Ella's surroundings create a strong sense of place. These settings are not mere backdrops but integral to the narrative, influencing the actions and emotions of the characters.

The urban versus rural dynamic also plays a part in shaping the story’s context, as it reflects the contrasts between anonymity in a bustling city and the close-knit scrutiny of smaller communities. The sense of normalcy in familiar settings adds an eerie layer, transforming commonplaces into potential sites of danger and mystery. ## Unique Aspects One of the unique aspects of "I Am Watching You" is its exploration of the bystander effect through the lens of a psychological thriller. Ella's internal struggle with her decision not to act upon her suspicions on the train serves as a catalyst for the events that follow. This theme is rarely explored with such depth in thriller genres, offering a poignant critique on societal behaviors and personal accountability. Also, the non-linear narration and multi-perspective storytelling stand out, providing a multifaceted view of the mystery. By delving into the minds of different characters, Driscoll broadens the scope of the narrative, making readers privy to a plethora of perspectives and hidden fears, which collectively enhance the psychological intensity of the novel. Similar to I Am Watching You Book Review Pros Cons Engaging Plot: The narrative is gripping and keeps readers on the edge of their seats. Rich Character Development: Each character is well-developed, making them relatable and memorable. Effective Suspense: The author skillfully maintains suspense throughout the book, enhancing the reading experience. Strong Themes: Themes of loyalty, betrayal, and justice are well explored, providing depth to the story. Accessible Language: Simple yet effective language makes the book easy to read and enjoy. Predictable Twists: Some plot twists are predictable, which may reduce the overall suspense. Pacing Issues: Certain sections may feel overly drawn out, causing a potential lapse in reader engagement. Limited Character Diversity: The lack of diverse characters can limit relatability for a wider audience. Occasional Clichés: Usage of clichés in character behavior and dialogue can detract from the originality. Editing Errors: Minor editing issues can disrupt the reading flow and reduce the credibility of the publication. Plot and Genre When evaluating I Am Watching You, consider the plot and genre meticulously. This book by Teresa Driscoll is categorized as a psychological thriller, so if that genre appeals to you, this book may be a good fit. The narrative revolves around the disappearance of a young girl, and the multiple perspectives add layers of complexity to the storyline. Ask yourself whether the premise excites you and if the plot's themes resonate with your personal interests. Author’s Reputation Assessing the author's reputation can provide valuable context. Teresa Driscoll is known for crafting gripping, emotionally charged narratives. Look into the author’s previous works to see if you find a recurring style or theme that intrigues you. Reader reviews and ratings can offer insights into the consistency and quality of Driscoll’s writing. If multiple trusted sources praise her nuanced storytelling and character development, it might justify the investment. Character Development Character development is a crucial element to consider. In I Am Watching You, the characters are intricately developed, with their backstories and motivations explored thoroughly. Determine whether well-rounded, complex characters are a concern for you when purchasing a book. By reading sample chapters or snippets, you can gauge whether you find the characters engaging and relatable, which can significantly impact your reading experience. Writing Style and Narrative Structure Examine the writing style and narrative structure. Teresa Driscoll employs a multi-perspective narrative, which adds depth and keeps the reader engaged. Ask yourself if you appreciate dynamic and evolving points of view, or if you prefer a single, consistent narratorial voice. Pay attention to the prose quality, pacing, and whether the narrative flow aligns with your preferences by reading excerpts available online.

Thematic Elements The themes explored in I Am Watching You are pivotal. Considering the exploration of trust, fear, and the impact of secrets on relationships, determine if these themes are relevant and compelling to you. Books dealing with psychological and emotional intricacies often stir a deeper engagement. Ensure that the themes align with what you seek emotionally and intellectually in a story. Critical and Reader Reviews Take the time to read both critical and reader reviews. Critiques can provide an unbiased evaluation, highlighting strengths and potential weaknesses. Reader reviews, on the other hand, might reveal personal reactions and real-world reception. Pay attention to patterns in the feedback; consistent praise or recurring issues can be telling. Balancing professional critiques with general reader opinions will help you form a well-rounded view. Pricing and Availability Consider the book's pricing and availability. Compare prices across different platforms, including local bookstores, online retailers, and ebook providers. Look out for any discounts or bundle offers that could provide better value. Availability in your preferred format, whether paperback, hardcover, audiobook, or ebook, is also crucial. Ensure it is practical for your reading habits and preferences. Recommendations from Trusted Sources Seek recommendations from trusted sources. Recommendations from friends, family, or book clubs that understand your tastes can be invaluable. Additionally, literary blogs and professional reviewers whose opinions you respect can guide you effectively. Trusted sources help you avoid potential disappointments by aligning suggestions with your known preferences. User-Friendliness of Purchasing Platforms The user-friendliness of purchasing platforms is an often overlooked factor but quite important. A seamless purchase experience can save time and unnecessary hassle. Check the platform's return policies, customer support, and ease of access. User reviews of these platforms can offer a glimpse into their reliability and security, ensuring your purchase process is smooth and satisfactory. Post-Purchase Support and Community Engagement Look into post-purchase support and community engagement. Join online communities, forums, or book clubs that discuss I Am Watching You. Engaging with a community can provide deeper insights and enhance your reading experience. Some platforms offer additional content, author Q&A sessions, or discussion guides, adding value to your purchase. FAQ What is the main plot of "I Am Watching You"? "I Am Watching You" follows the story of Ella Longfield, who overhears two young men chatting up two teenage girls on a train. The next day, she learns that one of the girls, Anna Ballard, has gone missing. The book explores the impact of this event over the course of a year, uncovering secrets and lies among the involved parties. Who is the author of "I Am Watching You"? "I Am Watching You" is written by Teresa Driscoll, a former BBC television presenter who turned to writing thriller novels. Which genre does "I Am Watching You" belong to? "I Am Watching You" is a psychological thriller, filled with suspense, mystery, and tension as the storyline unfolds. Is "I Am Watching You" part of a series? No, "I Am Watching You" is a standalone novel and is not part of a series. Is "I Am Watching You" suitable for young readers? The book contains mature themes, including abduction and psychological trauma, and is recommended for adult readers. Parental discretion is advised for younger readers. What are the prominent themes in "I Am Watching You"? Major themes in the book include guilt, secrecy, the effects of traumatic events on different individuals, and the ripple effects of a single action or inaction on various lives. How has "I Am Watching You" been received by critics? "I Am Watching You" has received generally positive reviews from critics and readers. The suspenseful plot and well-developed characters are often highlighted as strengths of the novel.

Are there any notable awards or recognitions for "I Am Watching You"? While "I Am Watching You" has not received any major literary awards, it became a bestseller and has been praised for its engaging story and compelling writing. Is there an audiobook version of "I Am Watching You" available? Yes, "I Am Watching You" is available in audiobook format, narrated by Elizabeth Knowelden and Georgina Sinclair, offering an immersive listening experience. Where can I purchase "I Am Watching You"? "I Am Watching You" can be purchased at various book retailers, including Amazon, Barnes & Noble, Waterstones, and independent bookstores. It is available in hardcover, paperback, eBook, and audiobook formats. "I Am Watching You" by Teresa Driscoll is a riveting psychological thriller that impeccably weaves suspense, emotion, and intrigue. This gripping novel stands out as a valuable choice for readers seeking a multifaceted narrative that delves into human psychology and the intricacies of guilt, fear, and redemption. Driscoll’s masterful storytelling and compelling character development offer profound insights into the human condition, making it more than just a page-turner but also a thought-provoking experience. Whether you are a fan of thrillers or just appreciate well-crafted fiction, "I Am Watching You" promises not only to captivate but also to leave a lasting impression, cementing its place as a must-read in contemporary literature. Other I Am Watching You Book Review buying options

[whoismiaaa]

Writing Initiative #7

In today's class, I presented my 4D video piece. This work is an extension of my previous projects, focusing on memories associated with objects in familiar settings, their evolution over time, and the emotional connections they evoke. It explores how our relationships with objects transform as we progress through different stages of life. Unlike my previous projects, which typically center on specific moments in time, this video format allows for a comprehensive portrayal of an entire lifetime. Additionally, I drew inspiration from an article discussing the challenges of finding love and meaning after experiencing trauma. Through the lens of this article, I realized the profound role that objects can play in our healing journey. Despite being in a state of survival mode post-trauma, these ordinary objects often serve as conduits for rediscovering beauty and joy in the mundane. By transforming them into art, I aimed to emulate the process of finding healing and restoration amidst adversity. Moreover, the video's non-linear narrative underscores how objects intertwine with our memories, fading in and out over time. This dynamic portrayal highlights the complex interplay between our past experiences, present realities, and aspirations for the future, ultimately contributing to our ongoing process of healing and growth.

A strength that my classmates noted was the conceptual merit in connection to my word. They also said that it was very interesting and engaging to see and experience.

however, i still have some work to do with this project. one thing that was noted was that it would be more interesting if the pacing of how long the still of the motion appeared for changed to create more ryhtm, along that, I asked about adding audio to this piece, in which my classmates advised about including poetry readings (connecting to my previous work), and even adding a sound for each object that would appear as the object appears. i think the first one is way more doable because i have so many different objects, in an almost 4 minute video that i don't think i would be able to make each object have its own noise. i am considering adding a piano note or chord for each object, which might be easier and also hopefully sound good. but against, i am worried about being able to complete this in time.

My remaining outcome is the reflective piece. i have an idea for it and have started it, as it is a pretty straight forward idea, I just haven't gotten the time to do it yet.

[fals-worldcenima]

DRY GROUND BURNING

The 2022 film "Dry Ground Burning," is a strong reaction cinematic experience that pushes the boundaries of storytelling and challenges traditional narrative structures. Directed by Joana Pimenta and Adirley Queirós, the film masterfully blends elements of documentary, fiction, and experimental filmmaking to create a unique and captivating viewing experience.

One of the outstanding aspects of "Dry Ground Burning" is its visual style. The directors engage a combination of stunning cinematography and fresh editing techniques to create a visually striking and mesmerizing world. The use of long takes and unusual camera angles adds to the film's sense of unease and confusion, the film invites the audience to question their own perception of reality.

The narrative of "Dry Ground Burning" is equally intriguing. The film explores themes of memory, identity, and the impact of social and political events on individuals. Through a non-linear storytelling approach, the directors skillfully weave together multiple narrative threads, blurring the lines between past and present, fact and fiction. This narrative uncertainty not only adds layers of complexity to the film but also encourages viewers to actively engage with the story and draw their own conclusions.

Also, "Dry Ground Burning" tackles social and political issues with a bold and unapologetic approach. The film dives into themes of social inequality, government corruption, and the effects of colonization on belittle communities. By intertwining these themes within the narrative, the directors shed light on the harsh realities faced by individuals living in belittled societies, ultimately challenging viewers to reflect on their own societal structures and power dynamics.

Another interesting aspect of "Dry Ground Burning" is its sound design. The directors utilize a combination of natural sounds, music, and dialogue to create a rich and enveloping audio experience. The soundscapes in the film not only enhance the atmosphere but also serve as a narrative tool, providing additional layers of meaning and emotion.

In conclusion, "Dry Ground Burning" is a visually stunning and intellectual film that pushes the boundaries of traditional storytelling. Through its original narrative structure, inspiring themes, and careful craftsmanship, directors Joana Pimenta and Adirley Queirós have created a cinematic experience that challenges viewers to question their perception of reality and confront the social and political issues of our time.

The film "Dry Ground Burning" and the film "Battle of Algiers" both relate to each other in some way. Both films explore social and political issues and challenge traditional storytelling protocol. "Dry Ground Burning" dives into themes of social inequality and government corruption, while the "Battle of Algiers" focuses more on the struggle for independence in Algeria. Although they tackle different historical contexts, both films shed light on the effects/impact of colonization and belittle communities fighting for justice. 

Overall I rate this movie an 8/10.

[carlageronimi]

John Akomfrah: The Unintended Beauty of Disaster.

13 April – 31 July 2021 @ Lisson Gallery.

Lisson Gallery is delighted to unveil a series of new and recent works by celebrated artist, filmmaker, lecturer and writer, John Akomfrah. The exhibition includes a new three-screen video installation alongside a series of new photo-text works. Featuring footage filmed over the past year, this new body of work responds directly to the events of 2020, most notably the Black Lives Matter protests and demonstrations against imperialist monuments, presenting a rethinking of historical narratives. The exhibition will also include the UK premiere of the ground-breaking three-screen film, Four Nocturnes (2019), co-commissioned by the Ministry of Tourism, Arts and Culture of Ghana, Sharjah Art Foundation and Smoking Dogs Films for the inaugural Ghana Pavilion at the 58th International Art Exhibition of la Biennale di Venezia.

Akomfrah’s work is characterised by an ethical and emotional impetus to reflect on our collective consciousness – be it the existential threat of ecological disaster, exploring Black British identity and post-colonialism, or giving voice to minority communities. Akomfrah creates impressionist meditations through film and media; using montage techniques and bricolage, new footage is weaved together with archival material, newsreel and still photography. Overlaid with an immersive sound design, the artist often plays with imagery to construct conversations between the past and present, unapologetically bringing forth the multiplicity of these issues through non-linear narratives.

The first room in the gallery will house Four Nocturnes, the third part of a trilogy of films including the renowned Vertigo Sea (2015) and Purple (2017) that explore the complex intertwined relationship between humanity’s destruction of the natural world and our destruction of ourselves. Using Africa’s declining elephant populations as its narrative spine, Four Nocturnes questions mortality, loss, fragmented identity, mythology and memory through poetic visuals that survey the landscape of African cultural heritage.

In the front gallery of 67 Lisson Street, Akomfrah will present a series of new photo-texts, exploring colour, race and our obsession with ‘The Great Chain of Being’, following on from the artist’s recent edition, Our Skin Is a Monument I (2020), created in support of the Frieze Emerging Curators Fellowship for UK-based Black and POC emerging curators. This work, published on the October 2020 cover of frieze magazine, incorporates a still from the American film ‘Carmen Jones’ (1954), starring Harry Belafonte and Dorothy Dandridge. The still is placed into a Shirley card, a reference device used in colour-film technology since the 1940s to calibrate skin-colour balance, that for decades, only used white models to set their parameters, dramatically affecting how Black skin was rendered on film.

Our Skin Is a Monument builds on Akomfrah’s long-standing return to ‘the monument’, following on from films such as Signs of Empire (1983) and Handsworth Songs (1986) that challenged the existence of imperialist effigies. The term ‘Our Skin Is a Monument’ is taken from poet Caroline Randall Williams’ influential essay, ‘My Body is a Confederate Monument’, first published in The New York Times, in which she questions  “What is a monument but a standing memory?” As she states, “If there are those who want to remember the legacy of the Confederacy, if they want monuments, well, then, my body is a monument. My skin is a monument.” This series of works prompts us to evaluate not just what monuments we want to speak for our society, but why statues such as those of Edward Colston, were ever erected. As Williams puts it, there is a difference between “rewriting and reframing the past”; “it is not a matter of “airbrushing” history, but of adding a new perspective.”

The upstairs gallery will feature a new, three-screen video installation. Entitled Triptych (2020), the film is a homage to the centrepiece track on the radical, political album, ‘We Insist!’ (1960) by the jazz musician Max Roach – the ideas of which prefigured the themes that became the Civil Rights and anti-apartheid movements. Triptych, like the track, is sectioned into three parts: Prayer, Protest and Peace. The catalyst for this film was the broadcasted portraits of figures such as Breonna Taylor and George Floyd, and the evident incongruity between the beguiling ordinariness of the images that represented them with the violent end we know they endured. Through a rare focus on portraiture, Akomfrah seeks to express the diversity of Black characters, characteristics and characterisations that should form the bedrock of any de-colonial or anti-racist future.

[isabellagarnerblake]

I have been reading Janet Cardiff’s, the Walk Book; a non-linear documentation of her guided, site specific works. The virtual recorded soundscape she creates fictionalises the sense of time and space.

The space unfolds through the act of walking just as the story unfolds in the process of narration. Its a dualistic experience that takes place on two intertwined levels of the body’s movement in space and continuity of the narrative form.

Past present and future collapse into a dense, expanding field of possibilities.

She also used past photographs from the past of that place in addition to the headset narration further expanding time. 

[delhi-architect2]

Journal - One Drawing Challenge 2020: The 100 Finalists (Part 2)

Explore a further 25 extraordinary architectural drawings, each one a Finalist in the 2020 One Drawing Challenge. Let us know which are your favorites on Instagram and Twitter with the hashtag #OneDrawingChallenge!

← Previous 25 Drawings     Next 25 Drawings →

“Podalida” by Joakim Dahlqvist

“A drawing of a fictional city. I was tired of all the dystopian vision and wanted to create something that is optimistic yet still ambiguous. It is a scene full of activity and dynamism, multiple stories without a single protagonist. There are many easter eggs and secrets to be discovered every time one looks at it.”

“The Minute Before Tomorrow” by Nadar Matar, CallisonRTKL

“She murmured to me bluntly: you do not belong here. I answered bluntly: I do not belong here. I never managed to package her neatly when we were separated. Because I never had the courage to tell myself that I left, never to be back again. Now I am a shadow of myself, restlessly wandering Earth. “Do you often go back?” I am repeatedly asked. And I lift my gaze to hide my silence. I never left. She lives in me.

Our soul is a shelter. Cities live in us as much as we are in them. They inhibit our memories and tell our stories, they transmute, live, die and glow in our fantasies.

She will rise again, the optimist says. The cynic sees a city in the process of going extinct: Beirut will never be the same again.”

“Portrait of a City” by Jihoon Baek, Koninklijke Academie van Beeldende Kunsten (Royal Academy of Art KABK)

“People of the past generation often imagined how the city would look like in modern days. Sleek towers, straight roads, tidy urban fabrics, coherent buildings, massive gardens…

However, our cities look a lot different from the imagination of the past. A city rather evolved with each different story and context, resulting itself to be a massive collage of incredibly diverse characteristics.

Tall and low, glasses and stones, old and new, beautiful and ugly, subtle and distinct, East and West, beloved and hated, construction and destruction, real and unreal…

This diversity, which might seem nasty and chaotic, is in fact, the greatest properties of modern cities that amuse, attract, enrich, and shift our lives.This is the true beauty of a city.“

“Land of Electric Beasts : Machine Landscapes of the Post Anthropocene” by Tinn Kiewkarnkha, INDA Chulalongkorn University

“Land of Electric Beasts : Machine Landscapes of the Post Anthropocene,” a drawing of a speculative scene of a post-human rural landscape of the not so distant future. It is a journey into a vast land of automation in an agricultural landscape located in a countryside or what can be called a machine landscape.

Based on the acceleration of existing trends and technologies, an indoor agricultural landscape with sets of transportation cranes. It is but a small window into an emerging reality, a new non-human wilderness dominated not by the natural world but a new set of machine ecologies beyond human scale and understanding.”

“Imagining a Vertical Forest” by Endrit Marku, Polis University

“A tower carved with niches of trees. A monumental piece of architecture and an apparent intelligent solution, pleasing everyone, the egos of architects and developers, their wealth too, but also their desire for a public display of social responsibility. The building shadows the old land-consuming city that paved the path for the relentless earth’s anthropization. This tower aspires to become one with nature, claiming a place among the planet’s remaining forests, and it feels special, fresh.

Before it, there were just the mountain forests, the Babylonian gardens, Chernobyl’s abandoned khrushchyovka’s or even the potted flowers on grandma’s terrace. It is made of concrete, earth’s alienated son. Labyrinths of pipes pumping water upstream, for the trees to survive, are an improved version of nature’s streams. The missing fertilizers can be bought in any hypermarket. The imagined architecture is a simulacrum of already built simulacra precariously floating without foundations in illusory perpetuity.“

“View of Apartment #5, a Labyrinth and Repository of Spatial Memories” by Clemence Laurencio, University College London (UCL), Bartlett School of Architecture

“Five months have passed since the start of the lockdown here in London. I remain isolated on the third floor.

After many months of being locked up in my apartment, something peculiar began happening…

One day, as I made my way to the washroom, I suddenly found myself transported to another place. It was dark, but I could feel the cold stone beneath my feet. My steps echoed through this cavernous space. I reached for the wall, where I felt the familiar shape of the light switch… I was back in my apartment. I thought I was meandering through the sunken stepwells in Ahmedabad. Another time, I was running my hands on the smooth sun-kissed tiled roof of Doshi’s Sangath, when in fact, I sat in my living room, clasping my warm coffee mug… flashbacks of past times manifest themselves …

My memories had allowed me to escape my apartment.”

“Together Alone” by Yee Bless, Handel Architects

“Today, social distancing has manifested a new definition of ‘together’. The physical proximity of people and buildings have been reduced to the ‘virtual’. ‘Together’ we isolate, ‘together’ we work, and ‘together’ we zoom into the lens of our homes and struggles amidst a pandemic, the intrinsic fight for human rights, and survival of the everyday.

This drawing cuts a section through hexagonal pods that encapsulate our inhabited spaces. The hexagonal shape represents our self-proclaimed strength and efficiency around our designs, the same efficiency that circulated the virus with rapid speed. The hexagonal framework is deforming under the pressure of an evolving reconciliation for how we cope with the virus in our daily lives. Our pods are juxtaposed against one another revealing that we are closer ‘together’ than we think, and that we must act ‘together’ for the future.“

“City of Nothing // Island of Everything : Park Avenue Elevaiton” by William Bayram, Declan Wagstaff and Christopher McCallum, University of Edinburgh

“As a unique urban context, Manhattan settles itself within the dichotomy of a city and island. Its individuality, yet connectivity, thrives for greater density as the catalyst of the containment of the strange. This architectural manifestation of estrangement shares a duality between pragmatic and fantastical, thus the city cannot help lend itself to the thinking of both creative endeavours. The containing of this architecture within the restriction of an island splits between the seen/unseen, vertical/horizontal, overworld/underworld comparisons.

Here, the island finds itself a blended world of consumption, sustainability, cultural and political iconicity. Yet for all the island’s architectural accumulation, what it has to show for itself is non-material, therefore through the consumption and containment of everything it presents and trades nothing. This thesis seeks to explore this territory of estrangement through two narrative threads of thinking, the Pragmatic and the Fantastical which find themselves at times separate or intertwined.”

“The Censored Materials Archive” by Chi Kit Matthew Choy, The Chinese University of Hong Kong School of Architecture

“The censored materials archive situates in a world full of dogmatic opinions and polarising beliefs. It provides a space for those who are willing to give censored works a second chance by engaging and listening to one’s contentious ideas, and in return appreciating the disparity among a pluralist society.

Unlike conventional museums, galleries are linear with no visual connections between them. There is no alternate path, only confrontation. Spatially ambiguous galleries reflect the controversial and disputing nature of the materials. Galleries are only allowed to be entered individually, allowing visitors to examine these works without the fear of being captiously judged. The debating hall is the crucible where bonds are forged and views diverge through presenting censored materials. While heated arguments and candid reflections are conducted, autonomous machines below these galleries work endlessly in archiving and curating censored materials with their non-partisan eyes.“

“(Re) programmed ruin” by Paola Botía, Universidad de los Andes

“The project starts from the understanding of our cities as a palimpsest, the coexistence of different temporalities that manifests the cities’ continuous growth and transformation. These unending changes leave urban voids, decaying sites apparently forgotten; loaded with what has occurred, but somehow unaware and oblivious to the dynamics of the contemporary city. These “Vague Terrains” as De Sóla Morales defines, are places where nature breaks borders in different scales conquering the void and exalting the inevitable ruin of architecture in time.

This abandoned sites, which may seem completely inaccessible, represent the void as a place with the potential to unveil new ways to address urban renovation. The project aims to reprogram this post-industrial landscape as a hotspot for culture and public life, setting in motion the revitalization of the neighborhood as a new cultural cluster while visualizing how the altering characteristics of the ruin enhance matter and architecture.“

INSCAPE: Neo-Unité by Hao Wang and Xin Feng, Harvard Graduate School of Design

“At the time in which we are subjected to the invitation of isolation, socialization is at risk. People’s true identity has been pulled back behind the media screen and developed a digitized relationship, raising the questions, is the digital-self your true self? Is cyber relationship real? Thus, domestic living and socializing prototype should be redefined. In response, a new home scape – INSCAPE – is designed to reflect upon the challenge between true identity and social relationships.

In our site-less Neo-Unité Community, worldwide habitants get a matched housing unit based on their personality. While providing intimate space to be alone, a screen – act as a scape – serves to communicate and exchange emotions anonymously. This “Instagramal Screen” is an digitized interface between co-habitants where they act and react on both sides and develop unexpected relationships. Through inventing INSCAPE, love and care could be unleashed through both virtual and reality.”

“H.D.D” by Brent Haynes, Manchester School of Architecture

“Harpurhey’s Density with Distance (H.D.D) is a testing ground for a new urban typology that turns social distancing protocols into an asset for Highstreet revitalization.

There has been a recent increase of awareness of spatial boundaries within the public realm. Line ups outside shops have become a new, unpleasant, part of the retail experience; and when the lines recede, paint and stickers remain as undesirable decoration to remind us of our new reality. What if we could turn these waiting irritations into memorable experiences and furthermore, integrate spatial distancing measures into an urban aesthetic?

Welcome to H.D.D.

The most prominent feature of the proposal are the three-story, tri-axial sliders, that together line up and consume the street. The sliders pickup and place sitting booths; a new urban system to provide a high-tech, pro-consumeristic solution to our socially problematic reality.”

“Twisted Landscapes” by Solangely Rivera-Hernandez, CAS Architecture

“Imagine being able to twist and turn your environment. Have the power to control the landscape following a Rubik’s cube logic for example. Only that in this case, the colors are spaces and with every turn new destinations show up. What would happen if more than one user controls it? That would be out of this world!

Traditional architecture as we know is meant to be built with a lengthy life span. Constructions from centuries ago still stand today giving us a glimpse of the past and with that permanency comes our urban fabric development. That said, with technology’s growth, architecture has expanded its reach. Now there are houses and buildings with parts that move, rotate, and even transform. Can we think of something macro? How about a whole city of endless possibilities where each turn composes a new landscape?”

Dumpster Panda by Tanya Castillo Pelayo

“Back alleys and garbage pick up places are under designed and neglected spaces, yet they are often the focal point for many apartment dwellers’ everyday view of their communities. No matter where you live, sometimes the focus is on something you do not want to see. Dumpster Panda irreverently and playfully highlights unwanted hidden corners of suburbia.”

A window over an algae-powered Colliers Wood by Matt Faraci, University College London

“This vision references the industrial arts-and-crafts heritage of Merton, London whilst contemplating future opportunities for sustainable energy. It echoes technological advancements made with several microorganisms, like fast-growing microalgae suitable for most types of water which can produce energy, light and heat by absorbing CO2. It is set in Colliers Wood, a suburban London neighbourhood recently densified with new developments in the middle of the extensive sprawl of period houses.

By scaling up this symbiotic process, it redefines natural organisms as an active piece of city infrastructure and satisfies our thirst for renewable energy whilst mitigating threats to our ecosystem. This visual critique shows an inside/out approach where the colours utilised merge interior and exterior spaces and where urban opportunities rely on individual responsibilities, imagining a world where energy is produced on natural bodies of water (here the River Wandle, southwest London) as well as personal tanks in our homes.”

Adenventure of the Fantastic Arcman: Piranesi by Stefan Maier and Bernadette Hofer, University of Innsbruck

“He rose into space, a pillar into the sky, vaults for eternity, black shadows passing by. This is the story of Dilli City’s Arcman… who he is and how he came to be. “When is a man a city? When it’s Batman or when it’s Gotham. I’d take either answer.” – The Riddler Is there a correlation between actor and the space he acts in? Is identity shaped by space or is space shaped by identity? Or even both? It is the 1986 Frank Miller’s Dark Knight Returns that highlights the inseparable connection between Batman and his city. It resembles a circular connection, in that one is always creating and perpetuating the other. What Comic book heroes show us, is how the character and it’s built environment correspond to each other. So, what defines the architecture of our comic heroes? Which role does it take? Superhero or supervillain?”

Cannibalism City by Yafei Li, University of California, Berkeley

“The city is shattered by social distancing, whose intestine can be peeped between the six-foot gap. The broken grids, like islands, staring at each other with no interaction or communication. Social distancing pulls the city apart and reveals the dirty intestine, full of racial discrimination and class conflict, hidden under a seemingly friendly face. A painted skin has been torn apart and the essence of cannibalism in this city is exposed.

Cannibalism City, it reminds me of a paragraph in A Madman’s Dairy by Lu Xun, “In ancient times, people often ate human beings. I tried to look this up, but my history has no chronology, and scrawled all over each page are the words: ‘Virtue and Morality.’ Since I could not sleep anyway, I read intently half the night, until I began to see words between the lines, the whole book being filled with the two words, ‘Eat People.’”

“Clay Workshop” by Alexandros Michail Varvantakis

“Queenstown Microsociety

This design proposal revisits surveillance with a mindset that no one shall be subjected to arbitrary or unlawful interference with their privacy and creates a new form of society in which occupants can feel secure.

Queenstown aims to re-evaluate covert responses by proposing an architecture where people can live,work and hide together under a sustainable economic network embodying a primary school, several workshops and factories trying to be fully autonomous.The construction sequence of the proposal is separated into 3 phases and it’s planned to be completed in a century from it’s start date.

Queenstown philosophizes over several pedagogic systems and aims to illustrate ideas that combined result in an Utopian system of education which forms the foundation of an idealistic society.This speculative proposal is a device,a thought experiment which gives an alternative way of living to London citizens beyond the limitations and the insecurity of the contemporary society.”

Cloud City by Luka Rados, Technical University of Vienna

“Cloud City is a utopic solution for the sprawling cities of tomorrow. The transportation is seen as an important aspect of this vision, where new sub-centers are being developed around the big transit intersections. This would be a new and more organic interpretation of the garden city, where newly formed centralities would function as small almost self-sufficient cites.

A Modular system is developed that can attach and detach itself, and therefore grow and shrink depending on the community needs. This flexible system should be seen as a cloud covering and supplementing problematic areas of the city, where extra infrastructure is needed. This section is a concrete intervention for one area in the 22nd district of Vienna, which is often seen as a District on the wrong side of the Danube. It was through centuries neglected since it was land that was often flooded, and it is desperate for new revitalization.”

CUENCAMO by Danilo Cristancho, Architect

“CUENCAMO a new opportunity.

A premise of architecture is to implant itself in harmony with the context. Welcoming and being welcomed by nature becomes an architectural priority in times of climate change. Where is the balance between architecture and nature? Perhaps we should explore deep in the forests, build and be a community with nature, understand it and project our refuges according to what nature dictates.

This is a refuge built by an explorer who investigates the possibilities of making architecture in absolute harmony with nature; he is deep in the forest, in the mountains … of the earth? No. This is a new planet, Cuencamo, deep in another galaxy. A new possible world. A second chance.”

Decoding WasteCity by Andrea Zamora and Juanita Echeverry, Universidad de Los Andes

“The COVID-19 emergency, together with our consumer behavior, triggered pollution and waste production rates. This catastrophe led to the city abandonment, where buildings became obsolete.

Returning to the ruined city implied rethinking the management of resources. Waste colonization became the strategy to survive reality. In this way, the new territory is shaped by the overlapping of multiple time scenarios where the interrelated layers reconcile conflictive situations.

Here, life is possible due to the existence of new mobility systems developed within the living planes. Bridges allow horizontal passages, while the redesign of Bogotá´s public transport tracks along vertical structures that pivot through the coatings of the new reality.

What used to be is essential for what is to come. Each layer is indispensable for life to endure in the new territory. By decoding the decay accumulated over decades and reconstructing from what is no longer usable, life can develop in wastecity.”

Everything/Nothing Exploded Axo by Will Bayram, University of Edinburgh

“The thesis explores the vertical expansion of Manhattan within a terrain of ravines that exposes the city’s schist underside that underpins the skyscrapers above. This underground condition highlights Manhattan’s desire to grow upwards rather than outwards.

By inhabiting this new landscape the architecture explores the dichotomy Manhattan presents as thriving off the consumption as an urban cluster (Everything) and its contradiction, the thriving of relief (Nothing). The group schematic proposes three towers of Nothing that interlink through Agora fragments within a network of Everything, dedicated to the strange production of returning Nothing to the city and a weaving Agora that seeks to satisfy the city’s need for Everything.

My tower of Nothing proposes a facility that produces pure oxygen for both research and the city and an Agora fragment that blends the economic flux of commodities with an additional wing dedicated to the political functions of trading and regulating.”

“Fusion” by Gonzalo Vaillo, MORPHtopia

“The hyper-densification of certain metropolises (especially in Asian cities with uncontrolled urbanisation models) is pushing (if it has not yet exceeded) the sustainable limits of the living conditions of such built environments. This is occurring, to a certain degree, because of the abandonment of large agricultural areas. (Zhang, Li, Song, Zhai 2016) In this context, this project proposes a re-occupation of these obsolete structures of the countryside.

Unlike traditional “hard” urban planning devices, a fused affiliation of natural, technological, and human agencies establishes a model of low-human-controlled growth infrastructures emerging from the patterns of old agricultural subdivision. A rabbit hole that demands constant extrication of oneself from my/your/his/her/our/their condition at the top of the pyramid. An ecognostical model of coexistence. (Morton 2016)”

“GENETICS” by Giangtien Nguyen, INVI LLC

“At some point in their life, the elderly will stop their journey. The new generation will start their own exploration while carrying the genes of their ancestry. Circle of life is a reality of every living thing. As we journey to the height of our youth, selfishly we look to our personal benefits. During pandemics we excuse ourselves to physically connect for pleasure but forget to look at the consequences. The long climb to success tends to make us forget to look back on the elder generations. If we remember to see them, then we can then see our future.”

“GRID IN THE SKY” by Trevin D’Souza, Sir J.J. College of Architecture, Mumbai, India

“As I look out into the new world, I see the chaos humanity has caused that lay suspended over the earth. Humans have tried to reach closer to the sky taking their civilizations one step further in their greedy quest to expand upwards.

The word ‘ home’ and ‘land’ has been redefined. Humans now live in a home that is somewhat stationary as well as moving by virtue of a mechanized grid that helps transport each ‘home’ or ‘land’ throughout the grid. Humans feel they are free up in the sky, away from the tortures of Earth and by doing so have given back to the Earth its former glory with open, untouched greenery, except the metal columns that hold the whole grid of civilization. Humans are thus isolated in their own land yet not alone, stationary yet moving, in the air but still connected to the ground.”

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from Journal https://architizer.com/blog/competitions/one-drawing-challenge-2020-finalists-part-2/ Originally published on ARCHITIZER RSS Feed: https://architizer.com/blog

[thomasroach]

Death End re;Quest Review

From the creative talents behind Hyperdimension Neptunia comes a darker foray into the world of the JRPG with the visual novel-styled, turn-based action RPG, Death End re;Quest. A spiraling story of advanced technology, the cult, and an increasingly dangerous AI entity delivered alongside a package of promising turn-based combat, does Death End re;Quest live up to Compile Heart’s pedigree for the JRPG space?

Death End re;Quest Review

While I have many fond memories of JRPG’s of yesteryear, I often find myself avoiding the genre of late. Between the repetitive mechanics and the outdated technologies, it has been some time since a JRPG kept me enthralled from start to finish. Death End re;Quest’s heavy focus on visual novel style storytelling and all female heroine cast are often more than enough to put me off, but boy, am I glad I stuck it through with this one.

At its core Death End re;Quest offers a strong visual narrative with an immersive, dark, and often grotesque storyline that follows a group of heroines exploring a virtual reality MMO with the hopes of finding a way to return to reality. If you’re familiar with Sword Art Online or the .Hack, series, you’ll recognize many of the main staples of the story, but Death End re;Quest offers a darker depth than other games in the genre.

The story follows the journey of two main protagonists: Video-game developers Arata Mizunashi and Shina Ninomiya. Together, they were part of an elite team of developers hired to work on a cutting-edge VRMMO project that boasted AI technology that could adapt and behave in an almost human-like manner. The game, Worlds Odyssey, was mysteriously shut down and a short while after, girls from the real world were disappearing and reappearing in game as altered versions of NPCs.

This collision of virtual reality and reality is the backbone of the games arching story with high stakes, surprise twists, and a rewarding conclusion. While the visual novel style may be off-putting for some, this is one virtual book you would struggle to put down.

Between the often lengthy scenes of dialogue is a typical JRPG world that has you exploring forests, ruins, and temples, all with the linear and rigid map style that has represented the genre for a decade. While the lack of advancement in these areas continues to disappoint, Death End re;Quest isn’t afraid to raise the bar in other departments.

The turn-based combat system is akin to Legend of Legaia, a 1998 PlayStation RPG that was way ahead of its time. Each character boasts an impressive and varied list of abilities that can be used in conjunction with one another to launch more devastating attacks. What’s more, these are not one-off buffs and bonuses. Each characters ability, progression, and advancement is directly tied to the combination of attacks used in battle.

While finding a working formula and running with it is a viable option, the more adventurous among us have far more to gain. A simple run-of-the-mill battle against a trash monster could result in the discovery of a powerful new move combination that unlocks a brand new ability, an ability that can play a huge role in future battles. Sometimes this results in a couple of hours of stagnated progression, as you aimlessly toss together abilities hoping for a new one to be discovered. However, when it hits, it’s arguably one of the most satisfying feelings I’ve experienced in a videogame.

Further increasing the complexity and depth of Death End re;Quest’s turn-based combat system are a number of interesting and innovative mechanics ideas. Field Bugs litter the area of combat, which are bugs that have appeared in World Odyssey as a result of tampered code. Collecting these can provide various buffs, increase your ability casting resource (SP), and influence the corruption within battles. This system alone presents a constantly evolving choice to the player. Do you risk losing some health and buffing enemies to grab enough SP to launch a massive attack, or do you play it safe?

As you defeat enemies and perform actions, corruption within battles can increase and decrease. This can result in a character evolving for the remainder of the battle, opening entirely new and devastatingly powerful abilities, but it also lets you bring Arata Mizunashi into the fray. While typically restricted to a non-combat “admin” skin while in the game, Mizunashi is able to hack into the source code during battles to provide huge benefits.

You can summon certain enemies you’ve defeated in the past, switch up the genre and turn the game into a mini-FPS for the remainder of the fight, or lay down some large-scale debuffs on your enemies. Seldom do you see such a complex but greatly appealing and rewarding combat system in a JRPG today.

Death End re;Quest struggles to do anything to entice players from outside the JRPG space, but for fans of the genre, there’s plenty on offer here. The story is compelling, the characters are diverse, the combat is fantastic, and it is one of the freshest JRPGs I’ve played in years.

This Death End re;Quest Review was done on the PlayStation 4 Pro. A digital code was provided by the publisher.

Game Reviews

Posted 1 hour ago by Blaine Smith in Blaine Smith Reviews, Game Reviews, PlayStation 4 Reviews

Death End re;Quest Review

From the creative talents behind Hyperdimension Neptunia comes a darker foray into the world of the JRPG with the visual novel-styled, turn-based action RPG, Death End re;Quest. A spiraling story of

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Apex Legends Review

It seems like every game company is trying to hop onto the battle royale train, and Apex Legends is the conductor for EA. Is this title a legitimate contender in the ring, or does it fall flat? Check

Posted February 21, 2019 by Casey Scheld in Casey Scheld Reviews, Game Reviews, PC Reviews

Big Dipper Review

The fates of two star-crossed lovers intertwine in the release of Team Zimno and Top Hat Studios’ Big Dipper. The snow-covered forests and holiday cheer make for an intimate setting for a tale of

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Squidlit Review

Gamers will be able to play like it’s 1989 with the release of Squidlit Ink.’s monochrome adventure Squidlit. Designed in the style of the Game Boy classics of old, should you set out to save the day?

The post Death End re;Quest Review appeared first on GamersHeroes.

Death End re;Quest Review published first on https://juanaframi.tumblr.com/

[yidiliu-ella]

Reflection of Final Work

My works are composed of images and performances, and the forms of presentation are installations. Inspired by me are the performance artists Joan Jonas and Yoko Ono. Because many of them combine performing arts with drama and dance, some theatre companies also Inspired me a lot, such as the Obsession of the Dutch Theatre Company and (A) Pollonia of the Polish Theatre Company. There are also many video artists and video artists, such as Christopher Marker, who have also inspired a lot of my video production.

First of all, I would like to talk about an important part of my work: performances. In terms of overall form and motivation, I was inspired mainly by the work of Joan Jonas, who demonstrated a critical deconstruction of the medium in the fields of sculpture, sketching, dance, video and performance art, mixing and merging them into A multi-level rich narrative designed to break the rules and regulations. In "Mirage", multiple screens and props form the setting of the theater. The projector displays the edited script. Next to it is a TV monitor, blackboard, and interactive sculpture. Jonas paints what she calls "Endless Drawing" on the blackboard. The projector shows the pre-recorded painting process. Jonas quickly drew a grid and crazily stomped on her feet. These body movements interweave with memories and accumulate into climaxes that coincide with the volcanic eruptions on the projection screen. In the works of The Juniper Tree and Reading Dante, artists perform live paintings and the painting process is part of the performance. The inspiration for live painting in my works is exactly the source here. A painting process will produce two effects. The result of the painting itself and the performance of the painting, combined with the content and rhythm of the video, combined into a multi-dimensional work form.

Video is indeed an important part of my work. Just like Jonas's video works, they have always occupied the space between independent works of art and archives. Pre-recorded video may become part of a performance show, and a performance show may also be the object of real-time projection. The past and present are intertwined and mixed, breaking the linearity of time and memory. Jonas gave different answers to the flexible mixing and juxtaposition of media to existential ontology, refuting the view that recording and processing would inevitably concretize the original performance.

Joan Jonas also added elements of national culture to her works. She possesses an outstanding ability: she can transform literary materials, ritual custom and non-Western cultural traditions into a mixture of specificities, challenging the expression of each media art. At the limit, after she watched the noh and Kabuki performances, she used Japanese masks and costumes in traditional drama to perform for a long time. The gesture of action was also stylized. This is also my choice in my own work. One of the reasons for the celestial burial ceremony of Tibetan culture, I took advantage of the form of the burial ceremony and used it to express the theme of fear.

Yoko Ono’s performing art, Cut Piece, also gave me a lot of inspirations. The content of the show was that several audience members randomly selected to be on the bench were asked to cut her clothes into pieces with scissors until they were naked. The work released a desire for completeness and a longing for love. The message, as it was cut into pieces, gained an outward communication in an internally traumatized world. The work was also a projection of human pain and loneliness. In the third performance in 2003, he invited the person who had lost her clothes on stage to take away the piece that he had cut and gave it to the one they loved. In my work, I painted on the spot according to the content of the video, and cut it down, and informed the participants that if they liked the story, they could take away a piece of debris. Although this process was based on the celestial burial ceremony, it was a concept of cutting it down. The concept of Cut Piece is very similar. Desire to eliminate darkness and fear, hoping to achieve salvation at the same time as destroying them, audience participation, these fears of my fears and narrators will become part of their hearts, regardless of whether they have obtained empathy, fear or strength. Will become part of them. Unlike Yoko Ono's work, perhaps many participants could not feel her inner thoughts from her single body language, and I directly expressed emotions through video and narrator's direct presentation and my own painting process. The reaction gave the audience.

In addition, several of the traditional plays that I've seen before using the new media approach also inspired me, such as Obsession, starring Jude Law. The play is adapted from a novel by director of a Belgian theater director, known as Art Director of Toneelgroep. In Amsterdam, the Netherlands, Van Hoof’s iconic style is an ultramodernist minimalist expression of drama tension through expressionism. The stage uses a video projection method to render emotions, while a Polish drama (A) Pollonia also uses this method and will The combination of video and video projection shows a sense of dislocation between space and time. The play used a large number of ancient Greek myths and literary works. Their forms were the source of my original ideas. At first I chose Japan. The novelist's novel was adapted into a script and he wanted to join a Chinese mythology story. He created a narrative story in the form of real-time video recording in a relatively traditional form, but after combining Joan Jonas's performance form, I adapted the work. More emotional and abstract, removed Narrative elements.

And video works like Chris Mark also gave inspiration to the imagery of my work. For example, Chris Marker movie runs through a female proverbial slang, Japan, Iceland and Guinea. Various images of Hong Kong intersect, but the author left the most time for Tokyo. He recorded the culture and life of the Japanese people, the iconic Lucky Cat, religious ceremonies, sexual culture, cartoons, railways, Pearl Harbor, rock music, and interspersed fragments of old movies. Attention, thinking about history and memory. It is also like reconstructing memories with images. It is neither real history nor fictional stories. It is a poem composed of pictures and sounds. My works also use sound as the main medium. When the narrator tells his story, I will use the things I photographed to combine the images and videos in some movies to abstractly reflect their fears. I will use the screen to organize the content and piece together the text, like writing an article in audio-visual language instead of shooting narrative film content.

And this assignment has made me more steadfast in my interest in art. After seeing many experimental videos, video installations, interactive shows and new media performances, I finally had the chance to try my own work. I am no longer a bystander. , I will become a participant. The most basic requirement of art for creators is to have the courage to dare to express. This is the basic of its existence. I always think that I am a timid and humble person. This is why I chose the theme of fear, and the burial of the sky. The reason why it looks very extreme but very religious form. This choice of interactive performances is helping me and even forcing me to take this step. This is the most important meaning to me. In this work I will also add to my fear story and hope that they can be eaten clean by “vulture”. If not, I will put it back in my heart and remind myself.

Refrence

Hosting.zkm.de. (2018). ctrl[space] : Rhetorics of Surveillance. [online] Available at: http://hosting.zkm.de/ctrlspace/e/texts/56 [Accessed 30 Mar. 2018].

Medienkunstnetz.de. (2018). Media Art Net | Warhol, Andy: Outer and Inner Space. [online] Available at: http://www.medienkunstnetz.de/works/outer-and-inner-space/video/1/ [Accessed 30 Mar. 2018].

Joan Jonas Venice 2015. (2018). The Artist: Joan Jonas | Joan Jonas Venice 2015. [online] Available at: http://joanjonasvenice2015.com/artist-joan-jonas/ [Accessed 2 Mar 2018].

Ono, Y. (1964). Cut Piece. [Performance Art] Tokyo: The Sogetsu Art Centre.

Moma.org. (2018). MoMA | Yoko Ono. Cut Piece. 1964. [online] Available at: https://www.moma.org/learn/moma_learning/yoko-ono-cut-piece-1964 [Accessed 3 Feb 2018].

Moma.org. (2018). Joan Jonas | MoMA. [online] Available at: https://www.moma.org/artists/2930 [Accessed 13 Mar 2018]. 

Jonas, J. (1976). Mirage. [Six videos (black and white, sound and silent; duration variable), props, stages, and photographs] New York: Anthology Film Archives.

Sans soleil. (1983). [DVD] Directed by M. Chris. France.

Ivo van Hove's Obsession starring Jude Law – review round-up | Opinion | The Stage. [online] The Stage. Available at: https://www.thestage.co.uk/opinion/2017/ivo-van-hoves-obsession-starring-jude-law-review-round/ [Accessed 3 Mar 2018].

Culture.pl. (2018). (A)pollonia: 21st-century Polish Drama and Texts for the Stage. [online] Available at: https://culture.pl/en/work/apollonia-21st-century-polish-drama-and-texts-for-the-stage [Accessed 3 Mar 2018].