The imagery in this section is inspired by Islamic patterns and the symbolism that makes them unique. As a whole, this section also provides the key to the understanding - read experience - of exile. Exile as Displacement, Alienation, Absence and Longing. The images are constructed on a grid which horizontally extends a six-by-six square, the magic square for the sun. Beautiful arabesque patterns, marking each of the four areas, are carefully constructed on geometric shapes which represent the four manifestations of exile: Displacement is based on the eight-point star - realized by the joining at the centre of the passive square (resting on one side) and the active square (balanced on a corner) with square symbolizing earth and materiality. Alienation is built on an equilateral triangle which, in the cosmos of Islamic patterns, symbolizes human consciousness - the Knower, the Known and the act of Knowing. A dodecagon, representing the twelve months and twelve cosmos, the passage of earthly and cosmological time, is the symbol for Absence. The pattern in Longing is built on a hexagon which symbolizes the Heaven. The eight-point star of Displacement carries over to all the panels as it - Displacement - is the root of the particular kind of exile (banishment) which has inspired this work. As background - or ground - each panel uses an aerial photograph of a section of the earth's surface. Against these, in a tongue-in-cheek manner, are juxtaposed scientific and/or technological dictionary definitions for the concepts of displacement, alienation, absence and longing.

The panels in this section are marked by a grid which is the extension of the magic square for the moon, the nine-by-nine square. Here, as well as in the Geometamorphosis of Exile, the grid is an integral element of the visual and conceptual design. It defines and binds the other elements and engages with them to engage the viewer in a whimsical, almost surreal world where multiple layers attempt to create a multiplicity of meanings. These are not, however, rigid, static images. Frame after frame, the images are constructed or deconstructed to create a sense of movement. The moon is the navigation tool. Each panel in this section has an attachment which contains a text, a poem, rolling in with music. One of the poems is actually a dream retold. Here, the dream is illustrated by two Quicktime animations which in style, as well as in rhythm, provide a contrast to the rest of the panels in the section. They do, however, remain integrated in the overall design via the content and the music. At the end of a run through a panel and its attachment, the viewer is given the choice to switch to the Geometamorphosis of Exile section or continue the journey through the Chronicle.

In both sections, the soundtrack plays a significant role in setting the tone and giving feedback to the viewer about where s/he is. The Geometamorphosis of Exile uses a drumbeat played on the classical Iranian instrument, tonbak. The Moon Chronicle is musically annotated by a solo tar, another Iranian instrument. There are voices in the soundtrack as well but they should be kept a surprise. The music is from a recording of an improv session by masters Jalil Shahnaz (tar) and Hussain Tehrani (tonbak).

Macintosh (68040 or higher) or PC (Pentium 1 or higher) computer, colour monitor, speakers, minimum 8 MG of abailable RAM, and QuickTime.
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