2014 look

Update Now March 2014

Copyrighted Materials

Copyright © 2014 by Michael O’Connor

ALL RIGHTS RESERVED.

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



Michael O’ConnorBhamAMP ™Owner & Director

Publishing Immersive Visualization Environments& Transmedia Narratives

BhamAMP™ Business Arts MediaPlex is involved with thepublication of immersive environments providing for thecollection, integration and display of visual, audio andkinaesthetic data. We conceptualize and develop threedimensional visualization environments which combine thefine arts and digital display information for multi-screen,multi-media and multi-modal applications. BhamAMP hasbeen doing business since 2009, operating in the PacificNorthwest, and is involved in the Business Arts, eTheatreand Transmedia Narratives.

From the Director


The slides following provide a brief summary of new releases authored by MichaelO’Connor. The latest 2014 release is titled The Quarrel Oblique. Links to Michael’sworks can be found at www.bhamamp.com including new multi-media, multi-screentransmedia narratives with intensity.

Michael’s latest release is a literary opera. New releases are scheduled throughout2014.

BhamAMP is also operating as a vehicle for designing and implementation of multi-media biographies for start-up companies and individuals. Design inquiries can besent to [email protected].

New Releases March 2014


The Quarrel Opaque is a literary operawhich could be composed as a single actpurposely for a caution to others whowould read more into the actual story.Pass this episodic journey through English,French and Spanish, adding your ownversion of the story and the close to remoteparts move more particular to the windwhich blows where he is standing. Theclassical guitar duet provide for the subtlechanges in the temperament and dialogs ofthe principal characters, and is at timesaccompanied by duel French horns andsteadied timpani drums which accentuatesand distills the quality and impact of thevoices. The last we will see of him after thefinal curtain closes is one person movingoff following the arc of the sun of a newday, with the torn pages of a finemanuscript trailing behind him. Hopefullywe have not suffered much recognizingthat his movements are our own entrancesand departures.

The Quarrel Oblique


For better or worse all of their greetingsare friendly as we approached the porchof the first dwelling we come to on thedirt path. There is music playing frominside and I immediately want to knowthe name of that song. I am standing onthat porch for a very long time before Imuster up the strength and conviction toenter behind the rest. No one standsbehind me edging me on to enter and Ido not know if I am to be greeted withhumanity or outright dismay. But I doknow that the one who remains just outof sight and behind the door has anothertask—holes are plugged and the onlyway out has now been closed.

Theatre of the Puppet


I am too tired to fight fifty. The role ofmiddle age is still not apparent to me, butI know that I will eventually get it—Ihave to as there is no other choice.Bringing this glass to my face I amaroused by the role age plays in theselection of wine—too far apparent. Theglass of Chianti in front of me is deep redand the bouquet is richly berried,finishing off quite dry.

Chianti Dialogs


FOR THE GOOD OF THE MIND AND SOUL; prosalute anime; I have created these pages ineffect for the sake of providing the evidence.Any sequence toward pure evidence whichleads me to the affirmation of thecircumstance of self is a good enoughproposition for creating period. I do nothave to be prodded or even persuaded byany outside party to design and then deliversomething which I can refer to further on asan exhibition. This exhibition is theculmination of the reality of at least part ofmy mind and soul, and the combinedconviction to go on to that next likely placefor more subtle experience.

Kaleidoscope of Haiku


TO THE BEST OF MY KNOWLEDGE, and thatcircumspect account, I have developed thestrongest presumption of peace walkingthrough this forest and along side of thisriver like it is my own. There is somethingof proof in turning and seeing my footstep’simpressions in the soft earth that thistranquil passage is secured beyond anymeans as a command of an act of nature;my nature, so inclined to obey what I amtold as I navigate further. To the strongestdegree possible I am throwing myself atthe very nature of this path that is willbring me someplace promising and that Iwill somehow be protected from theharsher elements that may or not existbeyond the next bend. My apprehension, ifany, is derived from the previouslyunknown and the hope that there is furthersurprise as I keep going. There is comicrelief in sight.

Comic Relief North Fork


Venice Beach No Apology

Missy Campbell turned forty and is out toshow the world that she can still work andplay as hard; that is by her standards ofcourse. This is a day and night on thebeach for her, and it is a very peculiar timeand space.

“This is foreplay, my friend. Did you knowthe feeling one gets straddling across thatseat? It is the physical entailment, thosesimple directions from brain to feet, and anappreciation of the eloquent character ofVenice Beach with no apology. This echoesin my head as I cross from the Bike Pathover to the main Oceanfront Walk ever somindful of those who are standing beforeme and flagging me down. Someone elsewants my attention.”


Three Stages of Twilight

THERE ARE THREE STAGES of twilight whichall start after sunset and end before sunrise.The differences are a matter of degree. Thetruth is that there are three conceptions as towhat constitutes truth: agreement of athought and reality; eventual verification;and consistency of thought with itself. Thedifferences are also a matter of degree. Whathappens when it begins to get dark is a rangeof a thing in time space, and how it isremembered is a matter of interpretation.

That visual was so unexpected and thedetails were so clear that it nearly startledme out of my slumbered state. I had wantedto leap up and run but reserved curiositywould not let me interfere. I could not pullmyself away until I found out just what thatvoice and visual presence had to say.


Perceptive Sensations is the latest and thirdinstallment in the BhamAMP Business ArtsMediaPlex eTheatre series written forsmooth, snag free performance on all typesof stages should they exit in physical orvirtual terrains. Interests in performanceare not absolute or conditional, and oneassumes that they will be less structuredthan normal; given that normalcy was nevera requirement.

Perceptive Sensations includes full theatrewith series photography and Intermissionsection. There is an accompanying externallink for movie trailers on BhamAMP’s website (www.bhamamp.com select TheatreSeries: Coming Attractions and Exit thisStage).

Perceptive Sensations


THE COMPLEXITIES OF RELATIONSHIPS arecompared as they mean to cause somethingprescribed, considered as an aggregate ofsomething less likely stumbled upon. Moreoften this is a haphazard balancing act ofknown and unknown components—aspersons fleeing a storm of objects blownabout by an emotional whirlwind may beginto wonder what went so wrong.

There are disperse implications of breakingup and growing back together, just likeclouds separating and coming backtogether, squeezing out the rays of sunlightwhich might have illuminated something fardifferent. It may not imply a reduction tonothing, as by squandering or causing therelationship to simply dissipate instead.

Capriciously Opaque


THERE WAS A MOMENTARY QUIET thatfilled the brightly painted and amply lightedkitchen. The lime green walls werecovered with hand-carved animal figuresand there were several paintings as wellwith one depicting a bull fighter in the ringwith his cape draped over the broadshoulders of a mighty black bull. One otherpainting gave abstract details to each kindof pepper that could be grown in thisregion. Even the back porch off of theroom was lighted quite so with multi-colored lanterns of swirling glass that werehung with thin wires and swayed in thegentle breeze, and there were two verysturdy metal sculptures on the back porchthat did not move but had shadows causedby the array of lanterns and light, that werecast over the porch railings, stairs and evenonto the edges of the wood strips of theside of the house.

Cumulative Evidence


Evidence of Consciousness

DURING THE LAST EPISODE of this series ofinner-connected dreams had the roomspinning like a top, and all of my thoughtsquickly sharpened as I attempted to fixateon one point to gain my bearing—but notrazor sharp. Because at that precisemoment I had a sudden craving for clarity—as one seeks that clarity in first severalmoments of consciousness as the dawnevolves into a full morning—when you areaware that you have left the dream worldand have entered an awakening state ofsomething found (that was not actually everlost). I really did want that feeling to comemore quickly so I focused very hard and Ibegan to squint until my face hurt.


THIS IS WHAT I CAME TO HEAR. All aroundme sways constantly with the mildundulating currents as bits and pieces oforganic material floats by in diagonal lines,then passing in symmetrical curves causedby the incoming and receding waves. Therippled arcs on the surface of the watergradually intersect and the interferencepatterns are a marvel to look at; predictablysome materials buoy to the surface whileothers sink in succession into the shallowdepths of this naturally carved outwaterway.

My movements are deliberately slow in themorning and silently in cold and blue graywaters because I do not want to cause anyobvious disturbances with regard to theclosest inhabitants of the rock wall I amcurrently mesmerized by.

Fortuitous Event


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 is predominately three dimensional,but there are several very small paintingsthat dot each major wall and are principallyinvisible until one wanders closer to each ofthe room’s four intersecting corners. To thevery far right of the entrance stands asingle and reasonably large clear glassvase. This vase holds two groups of tropicallooking 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-wideloveseats are covered in richly dark brownleather trimmed in shiny chrome.

Jack’s Day Off


THESE ARE NARRATIVE ARCS in three parts:appearing when the outlines of a sail grewtransparent against the backdrop of thesunset against the sky. The sails are taughtangles as if proud in another moment of thesteadied winds that passed from south tonorth. Long were the powerful strokes ofthe flight of sea birds passing loudly above;cursing or just enjoying the risingairstreams.

Not too far in the past we had traveled bysailboat across an ocean from one smallisland to one much larger. We were sailorsby profession but quite new to this type ofvessel and trip. We were one engineer, onecommunications specialist and onenavigator, by profession early on in ouradult lives.

Narrative Arcs


FOR THOSE PEOPLE who areinterested, the paintings on thefront and back cover of thisvolume were created afterinitially being exposed to thehistory and perspective of PeterBeard, author of The End of theGame, published originally in1963. Mr. Beards works focus onthe extreme cycles and naturalbalance of big game in parts ofAfrica.

During a much different type ofexpedition to Baja California in1990, I was exposed to anarcheological dig wherescientists from Mexico and theUnited States co-discovered asite rich in the remains ofancient big game. The remainsof the site were estimated to bethirteen thousand years in age.

Silhouettes 3


THE STAGE IS MOSTLY DARK. There is onesource of light from the left side of apartition which is shaped like a three-quarter-sized door. The painted door is amedium blue against a crimson redbackground, and it is elevated at its base.The stationary door is several yards from theedge of a building. At the moment there is aperson pacing in and out of the cast shadowin and around the door and to the left of thebuilding. The person has one hand up athead level as the sectional stage lights comeup ever so slightly and the once shadowedshapes uniformly reveal more detail. Thedetails of the mid and far right of the stageare left deliberately darkened.

The main body of this environment exclusiveof actors, partitions, props, lighting and thelike is the stage. The stage is a framework.The size and arrangement (geometry) of thisframework suits the particular mission of theplay at rest and later when it is in motion. Asstated earlier this stage is mostly dark.

Veracity of Ghost Light


Photographic stills from video production Drumbeat


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