BhamAMP 2013

New in 2013

Copyrighted Materials

Copyright © 2013 by Michael O’Connor

ALL RIGHTS RESERVED.

No images or text from this volume may be reproduced without expressed written permission from the author.


From the Director

Michael O’ConnorBhamAMP ™Owner & Director

Publishing Immersive Visualization Environments

BhamAMP™ Business Arts MediaPlex is involved with thepublication of immersive environments providing for the collection,integration and display of visual, audio and kinaesthetic data. Weconceptualize and develop three dimensional visualizationenvironments which combine the fine arts and digital displayinformation for multi-screen, multi-media and multi-modalpurposes.

BhamAMP has been doing business since 2009, operating in thePacific Northwest. Prior to BhamAMP’s formation Michael ownedand operated a media company called Dory Inc. in the SanFrancisco Bay Area, providing Publishing, Photography andVideography services. Michael is also involved in the fine arts andnow in the production of eTheatre.


Current & New Releases

The slides following provide a brief summary of releases authored by Michael O’Connor. Thelatest release is titled Perceptive Sensations and includes original art, prose and photography.Links to Michael’s works can be found at www.bhamamp.com including other multi-mediaexamples.

Michael is finishing up his latest project that will include eTheatre methods and techniques.New releases are scheduled for 2013 including Three Stages of Twilight.

BhamAMP is also operating as a vehicle for designing and implementing of multi-mediabiographies for start-up companies and individuals. Design inquiries can be sent [email protected].


Three Stages of TwilightTHERE ARE THREE STAGES of twilight which all startafter sunset and end before sunrise. The differences area matter of degree. The truth is that there are threeconceptions as to what constitutes truth: agreement ofa thought and reality; eventual verification; andconsistency of thought with itself. The differences arealso a matter of degree. What happens when it beginsto get dark is a range of a thing in time space, and howit is remembered is a matter of interpretation.

That visual was so unexpected and the details were soclear that it nearly startled me out of my slumberedstate. I had wanted to leap up and run but reservedcuriosity would not let me interfere. I could not pullmyself away until I found out just what that voice andvisual presence had to say. Who did it belong to andwhy did it call out now? It seems to have been amocking reflection of everything I had wanted to saybut could not express without an equally suitablevenue. I could now see and hear everyone out there;this out of body journey so described; during thosethree stages of twilight.


Perceptive Sensations

Perceptive Sensations is the third installment inthe BhamAMP Business Arts MediaPlex TheatreSeries written for smooth, snag free performanceon all types of stages should they exit in physicalor virtual terrains. Interests in performance arenot absolute or conditional, and one assumes thatthey will be less structured than normal; giventhat normalcy was never a requirement.

Perceptive Sensations includes full theatre withseries photography and Intermission section.There is an accompanying external link for movietrailers (go to www.bhamamp.com and thenselect Theatre Series: Coming Attractions andExit this Stage).

The Theatre Series includes the following:

Jack’s Day off (2010)Veracity of Ghost Light (2010)Perceptive Sensations (2012)


Capriciously Opaque

THE COMPLEXITIES OF RELATIONSHIPS arecompared as they mean to cause somethingprescribed, considered as an aggregate ofsomething less likely stumbled upon. More oftenthis is a haphazard balancing act of known andunknown components—as persons fleeing astorm of objects blown about by an emotionalwhirlwind may begin to wonder what went sowrong.

There are disperse implications of breaking upand growing back together, just like cloudsseparating and coming back together, squeezingout the rays of sunlight which might haveilluminated something far different. It may notimply a reduction to nothing, as by squanderingor causing the relationship to simply dissipate.But it will suggest that the implication oftranscending often takes on another life as arumor, a fear, some joy or a lingering doubt abouthow the relationship should have been under anyother circumstance.


Cumulative Evidence

THERE WAS A MOMENTARY QUIET that filled thebrightly painted and amply lighted kitchen. Thelime green walls were covered with hand-carvedanimal figures and there were several paintingsas well with one depicting a bull fighter in thering with his cape draped over the broadshoulders of a mighty black bull. One otherpainting gave abstract details to each kind ofpepper that could be grown in this region. Eventhe back porch off of the room was lighted quiteso with multi-colored lanterns of swirling glassthat were hung with thin wires and swayed inthe gentle breeze, and there were two verysturdy metal sculptures on the back porch thatdid not move but had shadows caused by thearray of lanterns and light, that were cast overthe porch railings, stairs and even onto theedges of the wood strips of the side of thehouse.


Evidence of ConsciousnessDURING THE LAST EPISODE of this series of

inner-connected dreams had the room spinninglike a top, and all of my thoughts quicklysharpened as I attempted to fixate on one pointto gain my bearing—but not razor sharp.Because at that precise moment I had a suddencraving for clarity—as one seeks that clarity infirst several moments of consciousness as thedawn evolves into a full morning—when you areaware that you have left the dream world andhave entered an awakening state of somethingfound (that was not actually ever lost). I reallydid want that feeling to come more quickly so Ifocused very hard and I began to squint until myface hurt.

As I attempted to define that moment theroom that I was in spun at a much slower andcontrollable rate. The imagery was more focusedand all visible objects have a more defined edge.My head no longer swelled from the sharpmemories of the dream but rather from theperspective of the physical room that completelyenvelopes me and is much brighter than I hadexpected it to be.


Fortuitous EventTHIS IS WHAT I CAME TO HEAR. All around mesways constantly with the mild undulatingcurrents as bits and pieces of organic materialfloats by in diagonal lines, then passing insymmetrical curves caused by the incoming andreceding waves. The rippled arcs on the surfaceof the water gradually intersect and theinterference patterns are a marvel to look at;predictably some materials buoy to the surfacewhile others sink in succession into the shallowdepths of this naturally carved out waterway.

My movements are deliberately slow in themorning and silently in cold and blue gray watersbecause I do not want to cause any obviousdisturbances with regard to the closestinhabitants of the rock wall I am currentlymesmerized by. The overall visibility is aroundthirty five feet in the earliest part of the midweek afternoon and mid month of non stormyweather. Sea life is abundant as it collectivelygoes about its business of subsistence living onthe steep walls


Jack’s Day Off

IN EACH MAJOR CORNER of the loft is arepresentational cluster of cultural art fromplaces like South Africa, middle Mexico, Chile,United States, Spain, and Portugal. The art ispredominately three dimensional, but there areseveral very small paintings that dot eachmajor wall and are principally invisible until onewanders closer to each of the room’s fourintersecting corners. To the very far right of theentrance stands a single and reasonably largeclear glass vase. This vase holds two groups oftropical looking flowers with long deep greenstems. Several of the stems are topped bybroad and inviting green leaves that havenumerous strikingly white dots and dashedstreaks. The furniture in the room is ultra-tech;several chairs and double-wide loveseats arecovered in richly dark brown leather trimmed inshiny chrome.


Narrative Arcs

THESE ARE NARRATIVE ARCS in three parts:appearing when the outlines of a sail grewtransparent against the backdrop of the sunsetagainst the sky. The sails are taught angles as ifproud in another moment of the steadied windsthat passed from south to north. Long were thepowerful strokes of the flight of sea birds passingloudly above; cursing or just enjoying the risingairstreams.

Not too far in the past we had traveled bysailboat across an ocean from one small island toone much larger. We were sailors by professionbut quite new to this type of vessel and trip. Wewere one engineer, one communications specialistand one navigator, by profession early on in ouradult lives.


Silhouettes 3FOR THOSE PEOPLE who are interested,the paintings on the front and backcover of this volume were created afterinitially being exposed to the historyand perspective of Peter Beard, authorof The End of the Game, publishedoriginally in 1963. Mr. Beards worksfocus on the extreme cycles and naturalbalance of big game in parts of Africa. Iwas fortunate enough to witness thegreat strides of the same big game intheir natural element during my ownvisit to Africa in 1998. I am stilloverwhelmed by the images Iencountered, and the photographs I feelprivileged to have taken.

During a much different type ofexpedition to Baja California in 1990, Iwas exposed to an archeological digwhere scientists from Mexico and theUnited States co-discovered a site richin the remains of ancient big game.The remains of the site were estimatedto be thirteen thousand years in age.


Veracity of Ghost LightTHE STAGE IS MOSTLY DARK. There is one sourceof light from the left side of a partition which isshaped like a three-quarter-sized door. Thepainted door is a medium blue against a crimsonred background, and it is elevated at its base. Thestationary door is several yards from the edge of abuilding. At the moment there is a person pacingin and out of the cast shadow in and around thedoor and to the left of the building. The personhas one hand up at head level as the sectionalstage lights come up ever so slightly and the onceshadowed shapes uniformly reveal more detail.The details of the mid and far right of the stageare left deliberately darkened.

The main body of this environment exclusive ofactors, partitions, props, lighting and the like isthe stage. The stage is a framework. The sizeand arrangement (geometry) of this frameworksuits the particular mission of the play at rest andlater when it is in motion. As stated earlier thisstage is mostly dark.


Photographic stills from video production Drumbeat


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BhamAMP 2013