Abstract

This communication proposes an analysis, through the concepts of Alagmatic Images and Narratives (Dowling, 2022), of the creative process of the film prototype-installation, made as an VR FILM, THE WRITING OF THE GOD (2023-24), a free adaptation of the short story of the same name by Jorge Luis Borges and developed through the research-creation methodology (Chapman and Sawchuck 2012) which was the basis for my doctoral thesis entitled “KINE DATA: Data Cinema by Cosmotechnical Images” (2022).
It thus circumscribes the focus of attention and analysis of the process of creation, recreation, and even transcreation, based on Borges’ powerful fictionalization that takes as its inspirational basis the cosmogony of the indigenous peoples, through the creation of the character of Tzinacán, a Mayan priest, in process of brutal clash with the Spanish invader project represented by the historical character of Pedro de Alvarado.
I call alagmatic narratives a new generative-recombinatory relational way to understand and base the ways of writing and creating Interactive films in Virtual Reality, and they can be briefly and initially understood from an “explicit inspiration”:
[...] respectively in the concepts of philosophical fiction and fabulatory epistemology of Vilém Flusser (FELINTO, 2014) and, in the conceptualization of algamatics, as proposed by Gilbert Simondon (2020.a[1958]) as a refinement of the concept of cybernetics (WIENER, 2019[1948]). (Dowling 2022, 26)