Thank you for stopping by to read this.
I come from a much different background than the arts, but since my early 20’s I’ve worked as a designer for theater and film. I received a BFA from the North Carolina School of the Arts, an MFA from Temple University and had a special personal study with Czech architect and scenographer, Josef Svoboda. I’ve been fortunate enough to have worked with New York City Ballet, New York City Opera, Luciano Pavarotti, Spoletto Festival, the Kennedy Center, dozens of regional theaters, received numerous awards and to have travelled around the world designing. Along the way I’ve been smart enough to see how artistic and cultural elements blend and flow around our world with a constant commonality.
A few years ago, while trying to explain to my parents (my father was a marine corps drill instructor and my mother is a very conservative Christian, and they both think Donald Trump would be a good next president) how theater and the arts influence a people, I had an epiphany. For years I’ve been consumed with research into the entire world’s cultural history and, along with other tangents, how to use the arts and culture as a way to break down barriers of ignorance between different peoples. While I was on the faculty of Temple University I had the resources to explore some ideas. As a beginning I broke the earth into seven to nine different ethno-geographic areas all based on music tonal scale, selected several cultural and artistic elements from each, and have traced them all from the stone-age until today. These regions and elements are mapped out in a 3D model that I created to help organize them. The idea then is to allow public accessibility in both a research and live performance/presentation form. And what unifies the interaction from the source material to the audience is the idea of “stealth education” (discreetly introducing the language of the cultural element so the observer’s comprehension of it, and larger ideas, is increased). I’ve seen bits and pieces of these ideas work, but never as a whole system and I’m blown away at what Google has done.
What I mentioned above is in other parts of this web page at http://www.johnstephenhoey.com/discover-the-world, and a video trying to explain it is at http://www.johnstephenhoey.com/video/. The video may be a little long and rambling, but I think that you ,if anyone, would understand it. (I’ve been meaning to update the website, but unfortunately in the past year downsizing in both the academic and arts fields has left me off and on unemployment the past several months, and my priorities have had to be elsewhere.) It is in no way an adequate explanation, but I hope the ideas come across. If there's any part of it that maybe of use to you, please let me know.
I hope you get a chance to look through more of the site, but if not don’t let it keep you up at night. Regardless, it’s a pleasure to communicate with you and I hope your work with the Cultural Institute will continue to be as impressive. Should you ever need anything, feel free to contact me at TheGodot@aol.com, or at 1-215-514-1375.
PS- Along with this “Discover the World” project and related ideas, I’m also researching visual perception and it’s role in cultural racism, and a (theoretical) plan for a global live internet concert similar to the “Playing for Change” recordings. Theoretically, in one day there could be four live internet broadcasts from the Pacific Rim area, central and southern Asia, Europe and Africa, and then the Americas. If the right satellites could be tasked and latency kept to the absolute minimum, small groups of musicians could be kept synchronized with an adaptive software. From remote locations all over their global region, each individual would perform with others in different locations and be kept together by a time altered sync track and return audio feed. There will always be a delay in signal, but it could be overcome with some creative thinking and versatile musicians.
At least it all works in my head at 3am…