Muıгén Ní Sídach (She, Her)
Teknomage, Storyteller, Musician, Maker, Fashionista, Cooperative Enterprise and Product Architect, Advocate for Ecocentric Socially Responsible Technology
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Those who are clever with craft, adepts in the ArtScience of human perception, mathematics, engineering have since the dawn of recorded events have engaged in creating spectacles both subtle and gross, from sublime, the invention of arithmetic and the written word, weapons forged from fallen stars, sophisticated stages as ritual altars, the architecture of sacred space, with some accounts dating as early as 4,000 BCE, over 6,000 years ago.
There were massive instruments of astronomical timekeeping for prediction of cosmic events, ethnopharmacology, neurophysiological control through disciplines of mind and body in motion, psychoacoustics of voice, instruments, the architecture of ceremonial spaces that fundamentally alter the consciousness of thousands as one, mechanisms to “magically” open doors, lamps that light as if by magic, the phantasmagoria revealing otherworld apparitions, statuary with lifelike animated the faces with following eyes, lips that speak, eyes that weep, limbs and hands seemingly “possessed” by the power of gods.
Hero, the Greco-Egyptian of first-century Alexandria was famous for his contributions to ArtScience, his understanding of human perception, maths and engineering, all employed in creating practical effects for stage plays through the use of lights, mirrors, hydraulics, pneumatics, all programmable events through various timing mechanisms from candles, water, codes in knotted ropes, belts that actuated wheels, cogwheels, of machines in concert both simple and complex, all designed to leave observers literally spellbound.
Designed to enhance a mystical experience as well as the tools of the unscrupulous to mimic the mystical, these machines have been used to demonstrate the power of leaders to invoke divine favour, or to aid in creating a deeper spiritual experience for the faithful visiting sacred spaces.
This is the legacy of performance theatre and the ArtScience that is its taproot.