art statements

THE PAINTING ‘WHITE COWS’

THE THEME:One of the cultural differences between Copenhagen and Los Angeles: The self aggrandizement of women in LA.It is not a new phenomenon, that women demand attention. Attention often gives an economic advantage. LA most of all, is a city controlled by the brutal force of financial gain, and a social and financial security network is virtually non existent, unless one is wealthy! Female beauty is a wealth magnet, as well as a status symbol. Women in LA ( all kinds of nationalities ) emulate media stars as the 'Figure Magnifique' of mythology.            THE FALLACY:The fashion and film industry induces the belief, that thin girls are the real representatives of beauty. A rather narrow minded ideal. The degeneration of natural beauty is far more obvious in LA, the city of celebrities and wannabes, as girls here are typically smaller in their body measurements, than their counterparts in Europe: A new Danish trend is to expose mannequin dolls in storefronts, with sizes has grown from a 34 to 38.            THE MANIA:The essence of the painting ‘White Cows’, is a culmination of an observation and research into the thematic of female beauty in modern media and fashion in Los Angeles, Copenhagen and Europe in general.            The content of the painting consists of images inserted into a conceptually designed space, the painted area. In the digitally designed, and in the hand drawn images within the painting, the intention is to evoke/visualise flickering images, backgrounds and or particular locations! This painting is a new subtract derived from an idea of a serie of 5 empty storefront concept installations, that was created based on fashion, culture & The Hall of the Axes in Copenhagen, 1996 ( see installations and objects ). These flickering images or films, are of nanotech equipment for life extending and body-beautiful surgery, future dna manipulation, and even axes of a slaughterhouse.            A comment on female beauty and the methods and extent used, to which people will go to in order to achieve this: Beauty conquers everything - and beauty equivocates with success.            THE THIRST:Across the painting, there are rows of identical catwalk mannequins, posing in continuous repetitive movements, reminding of the march of a fascist parade. The mannequins stand still, a Bertolt Brechtian tableaux vivant. A black conveyor belt propels the girls, all dressed in cow skin, through the room. The floor beneath the conveyor belt is drenched in blood: The slaughterhouse!The theme of twins represents here the idea, that women also mirror themselves in each others narcississtic adoration/competition. The colorscheme of the painting has conscious movement from light to dark, and from the left to the right: The concept of political progression in western society. The color palette is very feminine and deliberately misty; the location of a polluted place, where it constantly rains blood and milk...           THE RESULT:... A parallel on the subject of being a woman in LA, and a meat market. Therefore the title, "WHITE COWS".THE REASONThe painting was painted as an anticommercial for a fashion week in Copenhagen, which was located in a former slaughterhouse, where the particular location was called The Hall of the Axe. How ironic is that!

REPULSIVE REPETITION SERIES

M.J. Higgins Gallery - Los Angeles June 2006

Birgitte Moos’ paintings in the Repulsive Repetition Serie, communicate from a myth generated part of our cultural heritage; revealing individual and collective patterns in the human structures of sensing the essence of being alive. Her quest is to bring dreams, memories and love to life. It is then up to the voyeur to receive a subjective impression. She has returned again and again in recent years, to the theme of transformation of life. There is a kind of cultural deep freeze in our bodies, where society paralyses our brains, and disconnects us from nature. Sealing the life of feelings, and making the idea of radical change into being true to our selves, almost unthinkable. If the artist's function is to hold up a mirror to society, we may have to accept the fact that in our time, the mirrors are hazy. The wearing of a mirror, reflecting every experience back into our own consciousness should in Birgitte Moos’ opinion, be a progression from illusion to clarity. The problem is that we are blinded by our own projections, stopping us from staying true to love and unity. So don't expect perfection. Several of these particular paintings in the Repulsive Repetitions Serie, shown at the M.J. Higgins Gallery, explores thematically classical elements: Such as the Assyrians and the woman and “satan” and “satan” and the woman; carnal desires and the woman, and are often implanted in abstractions about nature and the body feminine. Through repetition of mythological symbols and figures, on love and passion, from earliest historical times, the paintings represents our cultural obsession on achieving love, or what we believe is love. They demand some attention, One might not be seduced at first, but then slowly, as one enters the images, a kind of pattern emerges where recognition might possibly dawn! 

MIRROR WRITINGS

Are written from left to the right as a result of the Artists thoughts projected directly onto a surface, which later will be located in front of the observer. The content is now manifest and placed within the image. It will hereby reflect itself mirrored back to the receiver.

MEMORY PALACE SERIES by Birgitte Moos

Being born into the time of no future generation and punk, pondering over how to visuallymanifest an idea of tracking events back to that era. Remember being impelled towards a fascinating system. A Memory Palace.          An ancient technique used for almost total recall, a technique to remember vast amounts of information, before the age of universal writing ability, available to everyone. The method of loci or “ars memoriae” (art of memory in Latin) was an implement used by the scribes of the Ancient Greek World. The idea has been recurrently used in literature and film. This learning system is based on allocating physical locations in the mind, used most often in cases where long lists of material had to be remembered precisely. Familiar buildings such as churches, temples or markets, places one has physically visited are the ideal, for the task. The Library of Alexandria was often used as and referred to as a Memory Palace.          To use the method one have to go through (physically) a building repeatedly and in the same sequence whilst looking at the same places as before. Then one connect the item one have to remember with the places in the building, for example the parts in a complicated speech.To recall that speech you visit the places in the building with your mind, with which you have connected your speech to. The method is to ensure that you have associated ideas with pictures, localizing these pictures in a spatial place. A vast compound of space, filled with memories connected with definite places in a building. A Memory Palace.                   The system is fascinating. Not only just as tool for remembering, but also as a new concept, a product for the imagination, and a fount to store abstract memories: Paintings representing thoughts and memories, stored in a labyrinthine system in a house.         In order to visualize the idea of this mental construct, and to provide storage space for the myriad impressions stored in the inner world of the mind and the feelings associated with it, the intention became to construct a wooden tower (the mind), where paintings (memories) are hung on the inner walls (the Memory Palace).The whole construction is to be constructed as a ramshackle house, a symbol of a scattered brain full of information. The wooden construct will have an entrance, where one can walk into the palace for a brief secretive glimpse. A perverse peep, of the creative and complex atmosphere inside the memories of someone’s mind palace.On the walls, inside the construction, is an organized series of visual representations of memories: Paintings overlapping each other sometimes, as if containing uncontrollable information in underlying patterns. Every painting is a repository of memories within memories.The visual and spatial representations of the paintings, are accorded their logical and/or psychological connections.         The Memory Palace Project weaves layers of psychological narrative into separate versions, represented by each individual painting, of an inner biography. The paintings store their repertoire of spells in an unpleasant temple of revelation. A brain, a storage space, in which “Dangerous” insights sets that world apart from our own reality.                    

SET DESIGN On The Hamletmachine. Play written by Heiner Muller

         The play consists of leaping in and out between different cultural epochs.The main concept was to create a degenerating culture about defragmentation, and the assembling of the past into future. In the interpretation of this set design, everyting takes place on a circular stage inspired by an ancient amphitheatre. The audience is seated in the center, on the ground, and on an illuminated transparent floor, in an industrial silo 80 meters high.The entire stage encircles the audience, and the set is constructed on different levels, “the ripple effect of an amphitheatre.” This enables to construct different stages on all the levels around the public, giving them an heightened experience of the different time zones.          The lighting for the piece is projected from the jet-black space of the darkened silo, above the audience, creating the atmosphere of a universe absent of light but with a ray of hope. Enlightenment. The setting allows the actors to move from any point in “time” and space around the audience. Thus, involving the entirety of the audience to visualize, the entirety of the cast moving in and out of the different time frames. 

quotes

"BIRGITTE AT WORK? YOU SAY. In the past few months, I have keenly observed an artist in lust with abstract expressionism, a fine artist sublime. Her day begins late, an ecclesiastic abominance, and ends late, the working mans abhorrence. I have only seen her work with cabinet pictures, yet the details of cissing and crawl are clear and unmistakeable, a palpable form for the tears emotive. Love and pain the two indistinguishable parts of orgasm. Sometimes she uses impasto, where minute shadows straggle albeit in questionable harmony, yet achieving the depth of an almost three dimensional character of a bas relief. Even though she paints with acrylic, there are many instances where she reaches disturbingly into the school of aquarelle, strangely enough imparting an illusion of fugitive colours. Her retouching is mood oriented, with rarely a conscious thought to embellish or improve the original, rather an emotional withdrawal system, the elegy of saying goodbye to a lover. Her collection is a visual melisma where one syllable of a theme is carried through several notes of painted symphony. In a world of where everyone uses eclecticism, somehow the artist must, iflikened to another, struggle to avoid plagiarism, that too, is the essence of a fine artist, sublime".          Cheiron Coelho, Writer. Copenhagen november 2006                            "You are a very talented painter"          

Achim Freyer, Berlin 1997

recommendations

“I know Birgitte as being a very engaged and competent person, who out of precise desires and lines of direction for the projects she is involved in, is capable of creating solutions, which in original ways unites functionality with high aesthetic. In addition to that, her works contains a high extent of personality, which clearly manifests that she is capable of supplying a given commission new dimensions. Birgitte shows exceptionally understanding and sharp talent in the artistic field of scenography and production design for theatre and film. She contains great human qualities and values, and has a pleasant manner, getting along with people. This makes it a pleasure co-operating with Birgitte. She is simultaneously ambichious, outstandingly energetic and very purposeful”.Jonas ElmerFilm Director

February 27, 2007 - STATION NEXT, Copenhagen

Station Next is the film school that lies in the heart of The Film town in Avedoere; Denmarks international production environment acclaimed for its creative film art. Station Next cooperates with Zentropa Film Production, Nimbus Film production, Nordisk Film  Production, the two national broadcasting channels et al. Station Next’ primary vision is to acknowledge and create an awareness in the vast talent and potential of young film creators in Denmark. Since 2004 Birgitte Moos has frequently lectured film production design at Station next. Birgitte has a high vocational base that places her in that certain category reserved for outstanding Danish mediators in the creation of film. She possesses an astute and innate understanding of disseminating knowledge to a wider public. Pupils have time and again declared Birgittes teaching to be inspiring, enriching and invaluable. Her accomplishments are manifold. She is an eminent production designer and a very talented painter. She is unusually articulate and entertaining. Birgitte functions perfectly in the role of a teacher. Great artistic talent is characterized by the artists ability to be innovative, and this Birgitte possesses in abundance. In her artistic work, she has a high level of proficiency in developing visual concepts based on literary sources, for theatre            and film. Her strongest skills are the analysis of a script and the creation of its visual appearance whether on stage or screen. Birgitte Moos is enourmously qualified to work with the education of design of television, film, video and the performing arts. We here at Station Next, are happy to salute with our best recommendations in her chosen vocation as well as her humanity. 

Susanne WadFilm Studies Director           

November 4, 2003 - USC SCHOOL OF CINEMA AND TELEVISION

           “It has been my pleasure to have Ms. Birgitte Moos as an Artist in Residence at USC’s School of Cinema and Television, Division of animation and Digital arts from January to June 2003.           I have worked closely with her during this time… and her creative imagination was inspring to all of us.Ms. Moos is a specialist image maker, an artist, thinker and craftsperson who possesses an extraordinary esthetic sensibility. She is already a visionary in the field, pioneering exciting new areas at the cutting  edge of technology and the arts, and creating striking and deeply interesting           art works in the process. She is a creative and gifted talent who not  only excels, but stands out.           Her works show great sensitivity, versatility and universal appeal in many genres of artistic media. She is an excellent conceptual and creative thinker, a fine communicator and highly sophisticated in her use of visual language and contemporary computer special effect. Individuals with her combination of skills, knowledge and talent are extremely rare and much sought after in the industry. She will undoubtly bring prestige to any project in which she is involved…”           Vibeke SørensenProfessor and Founding ChairDivision of Animation and Digital Arts

writings

March  2006. Article for The Arts District Citizen, Los Angeles by Birgitte Moos

Review of Parsifal, directed by Robert Wilson at The Los Angeles Opera Robert Wilson is an American theatre director and scenic designer, known for being experimental in the cutting edge theatre scene, using a theatrical language where theatre becomes performance theatre, while still being rooted in classical theatre and opera. 
Wilson was born in Texas in 1941, and was educated at the Pratt Institute in New York where he studied architecture. He is the founder of The Watermill Center at Long Island. A cross disciplinary art school, where students comes from all over the world, to become trained in the spirit of this leading avant-garde theatre novice.
He has staged numerous productions over the last three decades throughout the world, including works as Salome, Madame Butterfly, Parsifal, Deaf Man Glance, The Life and Times of Joseph Stalin, The CIVIL wars and Einstein on the Beach.
Wilson has been working with outstanding artists such as Philip Glass, the German director Heiner Muller, the legendary David Burne, Lou Reed, Laurie Anderson, William Burroughs,, Jessie Norman, Susan Sontag, and Tom Waits.
His theatrical interpretations consists of almost empty stages and stunningly beautiful lighting designs. Nonlinearity defined through combining different art forms into total art works, where movement, music, visual art and design are fused together into a new formula for stage work. Movements and visual effects become more descriptive rather than words being central in shaping meaning. 
Wilson is directing actors into mechanistic movement patterns, that usually not represent their engagement in emotional content. It seems as if the mere fact is, that the actors have to move from point to point as if counting numbers internally, while exercising the movements as practical transportation in order to create or deconstruct the story. This could be a comment on that deconstruction could be applied as an analytical method of seeing literature, architecture and so forth as that language and trends are unstable.
The works of Robert Wilson stands solely out, in this time with tendency of confusion. He masters the walk of the double-edged sword, being able to assemble the blade so that it cuts clear through centuries of scenic art forms. His imaginary visual compositions leads reason towards consciousness about philosophical, defragmented cultural expressions and connect them in soul full footprints, sliding through time and space so clearly as any intuitive and abstract intuitions about life content and communication. Communication, collaborating through music, song and body language. 
Wilson’s directing is atypical in the sense of that nothing typical appears. He connects so named traditional dramatic expressions in new images, that moves slowmotoric through almost clinical yet painterly spaces, converting instructions in a written play into bodily language and executing these, one instruction at a time.
Wilson is popular in Europe. This is possibly a reaction to his nonverbal visual communication. Speakers of different languages can understand the content. Hereby not said that the audience subtracts the same content. The content is though of universal questions and ethical interactions, with outstanding ability of transferring settings and emotional content into abstract, suggestive landscapes and motions. Wagner’s opera Parsifal, performed at the Dorothy Chandler Pavilion, is transformed into a zenbudhhistic, meditational stage version. Parsifal is a 41⁄2-hour joyous meditation on physical focus and presence. Dreamlike stunning scenic settings created through set and lighting design and geometric black and white costumes. 
Wilson’s rendering of Wagner’s religious opera Parsifal is a contemporary and yet timeless sensuous illustrated work. Theatre traditions such as Japanese Noh theatre intertwined with Bertolt Brecht’s human tableau vivants: People posing silently. The figures are moving incredibly silent, now and then just about, and sometimes, jerks a posed hand mechanically back and forth as attempts made to comment on something. Or as nervous tics coming out of powerlessness against seemingly insoluble dramas, with the awareness of how hard it is to communicate verbally. 
Intrinsic a slow operatic work, projecting religious systems into stylized patterns, where bodily collages slides across the stage. Illuminating occurred crisis, where seemingly minimalist movements captures gestures before they occurs, as results on uncontrolled subconscious mania. Down tempo either as a result of emotional deep freeze or existentialistic cultural confusion. Automatic reactions and forms repeated, hypnotically looped in complex cycles, like a mantra looking for universal harmony. 
 

Transcendental images and spiritual symbols in the millennium epoch of Hollywood films - studies of religious signs and symbols in filmsBy Birgitte Moos           ”An inner constitution becomes a concrete outer” Shakespeare           During the change of époque and within the new century, significant changes appear in the visual media regarding filmmaking. Computer modeling techniques makes it possible to generate images of            until recently unseen character. It is a newer tool in the toolbox of a Production Designer.           Film is such a new art form, that at that time where movies appeared in, it automatically moved itself into an atheistic epoch; characterized by the belief in nature science and instruments. In newer films created in the years around the millennium, I see a tendency of expressing more spiritual content than ever before in that part of film history, which is tied to Hollywood.Perhaps that is because the transition to year 2000 has in several hundred of years stood out as an ultimate critical moment for manhood. That moment is built up through time with prophecies of Judgment Day simultaneously with visions of a better world.As a popular medium, the film is a credible measurement of consciousness within populations. One can also assume that film can have the effect on people as being catalysator of change of consciousness.           I am methodically researching on a number of films, with the focus on used religious and spiritual signs and symbols in these films. The selected films are all created from during 2000 until now. The selection and limitation of films are also decided out of criteria of high visual aesthetic, digital treatment and being produced in Hollywood.           Problem deskriptionWe are living in the dream society, where information technology and digital media feeds dreams and leaves space for self-forgetting and self-absorption. The entrance to film on the net is almost unlimited            for every single up coupled human. Always on the highway to paradise.Here it seems that religion and remarkably spirituality gets increased interests amongst present humans, and that seems to be reflected in filmmaking. The two conceptions have different meaning. Generally            I would nail that religiousness is about conducting oneself with the holy and powers: spirits, demons, gods, laws, and ideals. Identification with a set of man given parameters. In spiritually its considered that existence is of a character of a completeness that transcends beyond human itself.    Religion and spirituality has different signs and symbols. The symbol is for example an image of something familiar, but also the carrier of something vague, and universal truths. The spirit shown through the symbol, for example Jesus Christ, is the image, which makes the human grasp what lies beyond its ability for the understandable. During an investigation of the meaning of a symbol, transcendent imaginations appear and the common sense must capitulate. The cognitive value of symbols lies beneath the rational sense of perception. The German word for symbol is ´sinnbild´, which means emblem. Has the picture the potency of revelation”? 

I will try to categorize symbols out from different theoretical entrance angles. There are several definitions of what a symbol is and attempts of categorizations amongst others by Hegel, Goethe and Jolande Jacoby.The Swiss Psychologist Carl Gustav Jung’s works about archetypes have created a fundament of interpretation of symbols in the West, while works of the contemporary American Philosopher Ken Wilbur does in my interpretation feed the ideas of that, there exist Jungian archetypes, but also transpersonal archetypes. The archetypes must in this context be used in the connection to symbols. Ken Wilbur is by C. G. Jung’s former assistant described as the Thomas Aquinas of our days. Thomas Aquinas has in `! Sent prolog 9.1.a.v`. 4, said that ` Theology ought to be expressed in a manner that is metaphorical, symbolic and parabolic”. What a beautiful picture.Ken Wilber works at developing a new kind of science; a spiritual science, where science and religion becomes integrated. I will try to pursue these new thoughts and try to involve them in future research.Carl Gustav Jung is known for his re-interpretation of religion as symbolic, and his symbol interpretations include the world’s main religions and some esoteric traditions. In Jung’s symbol language is it not necessarily the symbol in itself, but also symbolic productions, which are expressions of religious and spiritual consciousness.            Myth critique gives a third point of view to the studies of religious symbols. Myth critique defines religion broadly unlike than what for example theologians do. Myth critique opens up for a broader study of religious symbols, since a mythological approach reads symbols as transcending, cultural and individual traditions into universal symbols! The analysis goes into and behind some of the Westerns cultures scientific world understandings and science results. Cosmology is the teaching about the universe and implicit that, has always been a wondering about the mankind’s placement in the universe. Especially the Western cultures´ materialistic and mental development,            have possibly reached a point of state where the spirit expands into a spiritual/religious cosmology. Detached from the scientific doctrines about the universe, exists an own mythic cosmology, which involves myths, gods, souls, intelligences and a metaphysical God.MethodThese investigations are part of a Ph.D. proposal that I gave in to The National Danish College in Copenhagen in the year 2002. The Ph.D. was declined based on the assumption that the content lacked sufficient scientifically. The academic paradox is self evident with reference to the subject matter: How to define and prove the numinous.I am still curious about above described subjects and will involve following methodic researches in a far deeper analysis of The Matrix trilogy and other films. The field of problems lies within pinning down, defining and classifying the symbolic image language of the chosen films. What is interesting is also how the designer through methodic work, transforms soul full content into a filmic work. In other words the ability to vitalize a symbol into a scene through the use of images.The plan is to analyze every single film, finding the religious/spiritual symbols. Then separate digital designed symbols from ´traditionally graphic and manually on set designed symbols. Categorizing common trades and differences.My intention is to research and analyze on the topic if cg images gives a greater opportunity for visualization of symbols, where the impression gives the wiever a stronger sensation of the old alchemistic principle “spirit in the matter”. In other words, Figuring out, if  cg design, gives ability of creating symbols with intensified transcendental qualities.In my consideration of how signs and symbols appears, I will try to point out and define religious and spiritual signs and symbols, and the term symbol has to be examined and clearly as possibly defined. For example by describing when is a symbol is a religious symbol. Where the symbol comes from, and what it means in a given film and in its original context. The term deconstruction, defined in 1968, by Jaques Derrida, can perhaps be found as a parameter of measuring modern fusion symbols, where different religions and belief systems are mixed together, or up, if one dare to say so. Describing different types of symbols, such as in which forms they are represented: Either graphicly designed or concrete beliefs objects such as statues, altarpieces, ikons, crosses, animals, plants or when are the symbols hidden and subtle. A discussion of the fundamental concept; the concrete, is essential in this context, in an attempt of organising a system.In investigation parameters and methods, an attempt of narrowing the contempt arise through the use of shape definitions such as style, color, light, materiality and immateriality.It would be interesting to typologylize films in such genres as pluralism, mythological, Theological, violent, non violent (the good versus evil). Designtools applied; digitalization, hand drawn, built in reality, mixed media. Religious, phenomenaligycal, psycological and philosophic angles of wievpoints should be considered. The research methods should implicit reflect, that we are dealing with complex issues in a multifaceted time. Speculations of how modern media – film and computer – can bring about symbolic images, is also a question which is illuminated by questioning the wievers experience of intensity in comparison to the image layers deeper content and in comparison to applied technologies. I am analyzing different computer software used for image manipulation creating religious and spiritual symbols.           My investigations will end up with new categorizations of religious sign and symbolic expressions within different filmic genres. I expect the new insights and content will be published in a compendium, which is addressed to design and film students, workers in the fields and other interested readers. The compendium would hopefully be a valuable learning tool about design processes and the use of symbolic language, helping readers to work goal oriented and consciously with image communication in films.My intent is to be part taking in what lies within the development of the field of Production Design, by uncovering different use of symbol visualization.On good and bad the film as popular medium is both a measurement and creator of values and belief directions amongst the audience. Homogenic visual expressions, applied in complex contexts and abstract perception coupled to symbolic shapes, should at its best have mutual interaction. These are circumstances which results shows the level of conscious activity during the process of creation, reflected by the emotional level of involvement and resonance by an audience watching the film.            Systematically the working method will consist of following in same order:                      Eksamination of chosen films           Scanning symbols in the films and reading literature           Classification of films signs and symbols           Development analysis parameters           Grading films and symbols in categoriesTemporary film list of interest           The Fountain. 2006. Directed by Darren Aronofsky, production design by James Chinlund.           The Matrix trilogy. 1999 - 2003. Directed by Andy Wachowski og Larry Wachowski, production design            by Omen Paterson.           Solaris. 2002. Directed by Steven Soderbergh, production design by Phil Messina.           Signs. 2002. Directed by M. Night Shyamalan, produktions design by Larry Fulton.           Minority Report. 2002. Directed by Steven Spielberg, production design by Alex McDowell.           Starwars: Episode II - Attack of the Clones. 2002. Directed by George Lucas, production design by            Doug Chiang.           Moulin Rouge. 2000. Directed by Baz Luhrman, production design by Catherine Martin.           The Cell. 2000. Directed by Tarsem Singh, production design by Tom Foden.Amongst selected films, The Matrix is an example of films with content of religious, transcendent and spiritual symbols. Just to mention one scene from the first Matrix film: The main character Neo is consecrated through symbolic divinity. As he is poured over by gold, I mean there are references to the goldenly imaginations of the ancient Antique. This film is a technological masterpiece, studded with visual effects, aesthetic and the use of cg. The visual effects percolate razor-sharp the abstract symbolic levels. The film The Cell includes a series of tableaux that depict captivating surrealist landscapes and spectacular imagery depicting the fantasy worlds. A truth seeking white angel, a boat in the sand and a serial killer in a cellar with many rooms. The room of the self is golden. An 8th victim in a glass water tank, that slowly fills with water. The number 8 has different religious meanings, for example corresponding to baptism, the water and new birth.Moulin Rouge is a film, telling the merciless separation between spirituality and desire, the cabaret is transformed to a golden hinduistic, sacred space. Star wars: episode II Attack of the Clones 2002 contains symbolism in abundance. For example dark dry landscapes with Anakins anger facing a setting sun. The disappearing sun leaving behind spiritual darkness.            Minority Report is a SFX visually stunning film, with integrated elaborate examples of computer effects that are rich in spiritual content.My own background and qualificationsMy professional and personal interests have to a considerable extent circled about symbols and accomplishment of knowledge about complicated designing processes, meanings and expressions. During studies at Roskilde University, I worked at a project about creative processes of creation, with the focus on religious symbols. My thesis from The National Design School of Denmark was on The Hamletmachine, written by Heiner Muller in 1979. The text lets Hamlet become interlaced with European culture and thrown from the past out through the future through time epochs and intertextual references, gaining awareness on the journey.Furthermore during my studies at The University of Arts in Berlin, by Professor Achim Freyer, I worked on the play Oedipus, transforming the textual content to images of ramshackle abstract ruins and heavenly openings. In Berlin I also worked, as a part of my investigation of Oedipus, as a Set Designer Assistant for my professor, at Deutshes Theatre. On the side, designing alternative set design concepts with the focus on the spiral symbol as a mental image of primeval processes and development. Also working with Bertolt Brechts play The Holy Johanna of the Slaughterhouse, where my set design turned out as a huge horizontal cross, which had the function of bridges between different horizontal movable spaces. The shape of the cross also appears in the performance “Agnes of God”. In this variant vertically placed. In my earlier work, 2000-2001, as a Lead Designer for the media concern Tristone, I developed designs for virtual worlds for computer games and interactive entertainment for television, and created universes strongly inspired by Greek mythology, Chinese religions and Greenlandic rituals.In 2003, as an Artist in Residence at University of Southern California, Department of Film and TV at the Division of Animation and Digital Arts. The stay let me execute own design projects, participate in Lectures and screenings of relevant films and workshops connected to courses in computer software such as Alias/Wavefront Maya, Adobe Photoshop, Premiere and After Effects as well as MacroMedia, Director and Dreamweaver. Including interaktive animation, stereoscopic animation and virtual reality. That postgraduate research was a natural follow up on my intent of writing a Ph.D. and interest in new digital media and their usability regarding design for film.Temporary Literature list           Barry Taylor: Entertainment Theology: New-Edge Spirituality in a Digital Democracy. Cultural Exegesis, 2008           C.G. Jung: Collected Works of C.G. Jung. Princeton University Press. Routledge & Kegan Paul, 1953-78           John R. May (Editor): New Image of Religious Film. Sheed & Ward, 1997           Clive Marsh and Gaye Ortiz (Editors): Explorations in Theology and Film: Movies and Meaning. Oxford: Blackbell Publishers 1997           Don Tapscott: Growing up digital, The Rise of the Net Generation. New York: MacGraw-Hill, 1998           Martin Esslin: The Field of Drama: How the Signs of Drama create meaning on Stage and Screen. London: Methuen, 1987           Michael Paul Gallagher: Clashing Symbols. Darton,Longman & Todd Ltd, 2003           Rolf Jensen: Dream Society. McGraw-Hill, 2001           Jean Baudrillards Simulacra and Simulations. University of Michigan Press, 1995           Hegel: Science of wisdom. St. Augustines Press, 2000           Eugene C. Kennedy (Editor): Thou Art That: Transforming Religious Metaphor by Joseph Campbell. New World  Library, 2001           Caroline W. Bynum: Gender and Religion: On the complexity of Symbols. Beacon Pr., 1988           James Bonnet: Stealing Fire from the Gods: A Dynamic New Story Model for Writers and Filmmakers. Michael Wiese Productions, 1999           Hillel Schwartz: Century's End. Barnes and Noble, 1999           Joseph Campbell: The hero with a thousand faces. Princeton University Press; 2nd edition,1972           Pia Skogemann: Religion og symbol – C.G. Jungs religionspsykologi. Borgens Forlag, 1988.           Brenda Laurel. Computers as Theatre. Addison-Wesley Professional, 1993           Lars Bo Kimergård og Lars Mathiasen: Manuskript og dramaturgi. Av-kompendium # 3,3 udg. Institut for Film            –og Medievidenskab, 2000           Ken Wilbur: Eye to eye - The quest for the new paradigm. Shambhala; 3 Revised edition, 2001