Part 7 of Jean Donaldson's Dog Body Language Lecture. Bite inhibition and ritualization of aggression.

Une tradition orthodoxe bulgare veut qu'on allume un cierge et de l'encens pour les morts. J'ai filmé l'accomplissement de ce rituel pour qu'il devienne ritualization. Le processus mis en place permet à l'acte de faire sens. Son efficacité réside dans l'intention sincère (niya, en arabe) qui anime la volonté de transformation, il y a un avant et un après. L'encens, élément préparatif et débutant le rituel, aide à entrer en soi ou en contact. Sa symbolique purificatrice envisage l'instant comme un passage : un lien entre deux mondes, deux étapes. Le cierge et sa flamme, seule source de lumière ici, fixe la temporalité d'un temps consacré au défunt. C'est alors que la mise en situation virtuelle d'une succession de gestes, accomplie comme rite, devient ritualization. L'enregistrement, la mise en scène et la réalisation font de cette unique exécution un rite qui peut être reproduit à l'infini. De plus cette création filmique cherche à fixer un moment précis de transformation dans le rapport à l'Autre, celui qui n'est plus. La mise en mots participe également à cette ritualization car sa réalité est éphémère et contraint le lecteur/spectateur par sa justification individuelle et syncrétique.

A ritualization... Turn the engine off Disorient yourself and follow the path Innocence lost yet remains along the path Perception is a filter Unlock and enter the chamber of self Shed light in your darkest spaces Time is an illusion Seal the chamber from the world Knowledge through relinquishing control Perception of inner engines The connection to the external world Embrace vice with control 4or? Productive use of pressure Universal sexual principal The mirror of every moment Can you bend the spoon? Subject reality to your will! Injurious beauty Consume yourself The will of love Externalization of impurities 3hree Cold, Hot, Warm Triad of Perspective Low, High, Level? Subjective, Objective, Actuality The bigger picture! The blood of life manifesting from naught Blood becomes reality Motivation? There is no simple answer... if you actually ask yourself the question!

The Satanist addresses Fee's comment on magical ritualization within Satanism and discusses a pet project of his...All while using tons of special effects!

(Balinese Shadow Puppet + Virtual Interactive Puppet + Live Drawing and Storytelling) Grace Street Theater , November 8 2007, Thursday 7 pm - Richmond VA USA Puppeteer: I Gusti Putu Sudarta Virtual Puppets and Interactive System: Semi Ryu and Stefano Faralli Music: Andrew McGraw Background flame : Christopher Romero "Experimental Virtual Wayang" is a contemporary translation of the traditional Balinese (Indonesia) shadow puppet performance ("wayang kulit"), featuring virtual interactive puppets and a realtime background drawing system, bringing the sprit of live improvisation into storytelling. This project explores two ideas of shadow; traditional shadows casted by wayang puppets, and digital shadows, projected images of virtual puppets projected one same screen. The shadow master will be able to simultaneously manipulate traditional puppets as well as virtual puppets which have been fitted with infrared units which will be monitored by a motion and position detection system. This system then communicates with a three-dimensional computer graphics system which will project virtual puppets onto the same screen used to display the traditional wayang puppets. He will be able to change the look of the virtual puppet and to control its movements based upon his own voice. This project opens the interactive system to public, inviting people to draw background images, interacting with puppeteer and musician, during the performance. I Gusti Putu Sudarta is a renowned musician, composer, dancer and shadow master from the village of Bedulu in Bali, Indonesia. He is a permanent faculty member in the theater department at the Indonesian Institute of the Arts in Denpasar, Bali. Mr. Sudarta has been studying the Balinese perfoming arts since the age of six and participates in weekly ceremonial and secular performances. Since the mid 1980s he has participated in yearly international tours of Balinese traditional and experimental music and dance. He has taken part in numerous inter-cultural experimental theater and music collaborations including the Theft of Sita project in collaboration with the Australian composer Paul Grabowksy and theater director Nigel Jameson. Semi Ryu is assistant professor of Kinetic Imaging at Virginia Commonwealth University. Ryu is a Korean-born multimedia artist who specializes in experimental storytelling approaches and virtual puppetry. Her works have been displayed in exhibitions internationally, and her academic papers, which have focused on the ritualization of interactive media have been published in numerous journals. http://www.semiryu.com Stefano Faralli is assistant researcher at Department of Informatica at University of Rome "La Sapienza" Italy. Faralli develops interactive systems for performance and installations which involve body posture/motion detection and multimedia production (real-time computer graphics and sound synthesis). http://hci.uniroma1.it/multimedialab/ Andrew Clay McGraw is an assistant professor of music and ethnomusicology at the University of Richmond. He has studied traditional and experimental music in Bali and Java during several years of residence in Indonesia. He has collaborated with several leading Indonesian composers and ensembles including I Wayan Sadra, I Made Subandi, I Wayan Yudane and the Cudamani ensemble. John Macdonald has been studying and performing Balinese and Javanese gamelan since the 1980s. He is a student of I Nyoman Suadin. Taylor Burton, Deven Langston : Background (Live sand drawing)