Early Internet Art in Malaysia 11

Between 1997 and 1998 Dr. Raman Srinivasan of Chennai and I collaborated to build, theorize and install a virtual temple on the Internet. The Temple was built in VRML in Chennai and located on a server in Sarawak. It was presented to the international interactive arts community in a paper titled Sacred Art in a Digital Era: Or the Internet and the Immanent Place in the Heart at the 2nd Consciousness Reframed conference at the University of Wales College in Newport (not available online).

The VRML temple was based on sketches of the Hridayaleeswarar temple, an existing physical structure in Thirunindravur about 20 miles from Chennai. According to the Sthala Purana or founding legend of the temple, it was in fact erected by the great King Kadavaraja based on the proportions of what was initially a virtual temple built in devotional meditation by the sage Poosalar. Some years after our project ended and the website was taken down, I returned to the VRML model to make a 3D print of its central Icon, Lord Shiva Nadaraja. This image was sent to Chennai from Vancouver where it was consecrated by Srinivasan’s father and used in domestic worship.

At the heart of this project was the integration of the traditional and the technological relationships of the real to the virtual. There was first, in the sthala purana, a movement from myth to physical architecture and then, in our VRLM/Internet project, from the actual architecture to the virtual model and, finally moving from the VRML model to the physical 3D print. This work was grounded in the belief that as the World Wide Web makes the Internet globally accessible, it must become a medium for the living sacred traditions of the world.

I went on to develop a framework for the rapprochement of digital technology and sacred tradition in papers like the following –




Tarkovsky Monument

tarkovsky moumentA monument to Andrei Tarkovsky was opened on the 29th July 2017 in Suzdal, where his own monumental contribution to Russia cinema, Andrei Rublev, was shot in 1965 … well over half a century ago. Andrei Tarkovsky was in my view the most important artist of the 20 century in any medium. Yes, that is a sweeping statement! … but I have just watched his films in the cinema – Solaris 3 times and Stalker twice in the course of the last week, and feel this claim is justified. I shall do my best to contextualize my hyperbole … and if I fail to convince you … perhaps, you might at the very least, understand where I am coming from (my perspective or paradigm)!

In a deathbed conversation with Krzysztof Zanussi, he said to his friend and esteemed colleague,  “If I happen to die, please whenever you talk about me, remind people I want to be remembered as a sinner, as somebody who committed many sins …. “ Andrei Tarkovsky was Christian and I believe he was expressing, in this request, his subscription to the doctrine of original sin, which although different in orientation and nuance, is in essence similar to the Islamic fitrah (original purity) or the Buddhist dhukka  (universal suffering). In all his work Tarkovsky struggled to express this sacred, understanding of the human condition in historical and psychological terms.

In his hands, film, the quintessential 20th Century representational medium, becomes both a medicine and a sacrament – an interface for healing and a window on salvation. He set this ameliorative and soteriological vehicle into motion in what Ingmar Bergman, no less, has described as “a new language, true to the nature of film, as it captures life as a reflection, life as a dream”.  Tarkovsky is the exemplary post-traditionalist, utterly contemporary in his engagement with social history and psychology … timeless in his grasp of the sacred. He articulated this timelessness in his films, his 7 technically and aesthetically masterful ‘sculptures of time‘!

Image : http://wellnews.us/articles/the-firstever