Education Design

INTRO
Civilization with references: another set of icons, wherein, there is referenced Wisdoms.

Each Wisdom breaks down into a moralizing script. From the past. Folk tales, folk wisdom, otherwise, there are timelines, which have the publications....sure, as we move forward it becomes more complicated, but the publications have access to random presentations of images, which can then accessed the student find perhaps some art history, perhaps a vase with a design, and then goes to the craftt machine.

Also, Wisdom of the West is constructed and explored, using Russells

PROBLEM
The attention span is their own, and it is so compartmentalized that people cannot get in and out of them all the same.
Furthermore, some compartments are deeper than others...the spatial thinking requires calculations in hand to eye, hunters traits, which suits children to a great deal of attention span.
This is not being put to use in schools, but the idea might be totally lost for a span, but then simulation now occurs at Scientific levels...in games.
Not only has Animation Entertainment advanced in story to rectify morality better than ever to today's world, the simulations and animations have advanced to replicate what was highly advanced thinking in 3-d modeling, again, the Scholar as a Engineer or Scientist, or the Scholar who can look up anything on the Tablet.
There should be a class in Wikipedia, where the kids practice in a more advanced way the habit a great many of us had in spending good hours in class reading the Encyclopedia.
School would be successful if each room could access the library online.
They could browse book like Amazon browses books.
Used versions as a cross database, but this sales element of books is incidental to the idea that instead of there being a limited access to information, there is a library in every room, a library in each hand.
The distance was more of a problem, now, its just library science is daily activity.
Simply being able to read, and having the virtue of being a simple read, a social network that can form around rich media, books, is ideal, for the kids can express themselves without the order and stimulation required to maintain attention on one teacher all day.
So the media might feel cold and distant to some of the extraverted folks, but I think a social media network based out of the schools, monitored by Department of Education for security and access, which contains Games but with a Department of Education overlay.

This might be a moralities question superimposed over a Halo game. It would be of course a adaptation of a curriculum, translated into interactive icons, and staged in various ways, but not interfering overall with the hour game time.
This happens twice a day, right after two recesses or right before,
But I think a National social network, is an idea that would further sales and contributions.
Somebody reviewing model submission in order to determine its use, though the criterion is basically number of verticies, some models need less some need more.
But the number of verticies is related the amount of tax discount.
These would be used in creating Historical Games, and they would be used in creating, through the more Archaeological applications such at pots and buildings, art history, and learning to craft through robots.

One day people will be crafting things from remote...sending these things in. The better they know textile crafts, the better quality the remote file and degree of understanding assembly.
Furthermore, some kids might take to programming naturally, so they jump out of the Halo session, and go into a social network to find people doing programming.

So, the kids decide, on a National network, that refers to locals, and probably is preferred in network associations, but otherwise, if there are 100,000 kids waiting to program but each one is a 100,000 locations, they never each other.
Nor can a uneven selection of teacher provide, and, the impulse goes sour.
(Its a rare thing in Elementary School, and so the Math kids suffer from isolation early).

So, having a programming social network, or a Math social network, lets see if my intuition is accurate, one Kid every other grade, so 2-d per school, different grades, occasional socializing past grades...so that a good social network, five boys, is three schools in a local area that would contain a social network.
We can create a shadow or double, in which, the kids may examine themselves and say things about others. This done with a book from My Ling Nguyen, and these were confiscated.

The double network instantly enables the comment, mean spirited, or observation...(kids observing and commenting on other kids) that is spot on, this is kept to groups.

So, people can go on other social networks, for instance The Animal Colonizing Planet network, and dis with their friends there about the Study of Civilization Network, then go back to the Study of Civilization network, and dis on the ACP network.

Compartmentalized, but then not just in their own heads, networked to compartments of adaptive overlays of what all kids enjoy most of all, emerging from early childhood playing with toys.
So, the playing with toys is equivalent to simulations, the games and interactive things...which the kids pre choose.
But then slowly adapt to this new access to social networks, and the game play is negotiated as team play, and then once this is established, this drift from game isolation to game collaboration, event then is allowed, but slowly there, possibly by the intuition or plan of the teacher in that classroom watching the kids, once in awhile taking them out, but having a screen she can monitor the kids by, but, in effect reducing the work load.

Teacher managing disputes. Perhaps teaching a lesson in morality...making the rest of the class stop what they are doing and engage in a morality lesson from the teacher regarding a infraction, perhaps a nasty statement to a fellow student, or, a poke at the student next to them.
This halts all the largish Tablet and smallish mice and keyboards on the school desks.
The old desk needs to be replaced by work stations. They can even be smaller, using the current desks but adapting them.
Wherein, the shell is shifted up, and into which the student speaks.

The use of headphones and microphones is too subject to lice infestation. But these newly designed desks do not have a drawer, just shelves, and the kids stand.
The chairs are adult chairs, wherein, the kids can raise them up to the right height, but using them is only during lectures and in long sessions by choice of the kids.

A national design project, how to make a robot chair that will go away on command, back to the corner of the room and perhaps fold, or, come to on command.
Or, issue on command, in a swarm, to the teacher.
Is, just an example of a National Project for kids to participate in, and, join a more or less local network.

Around this fun time of simulations the teacher introduces projects now and then...which include simulations in craft. There is a school robot that builds toys. Local plastic recycling Robot, so the kids can bring their own toys to recycle.
This makes schools have repositories for toys, however toys later on are sold or tradable as collections, based on whimsical sentiments about the child's past.

This robot can be accessed by the students, and some, or most, wont be interested in this robot that builds toys. But they can learn the process once. Or, learn it when the impulse to check it out occurs.
That requires a school technician, instead of a custodian...but whatever.

Typing lessons on a keyboard and how to use a computer. Activating voice, using microphones that have limited range.
The teacher does not need to monitor the students anymore...for these students will have camera on the screen (inside the dome of the now adapted desk) and when something goes wrong the teacher can review the video, and perhaps use it as a teaching moment.

Outside, all day, run by more PE teachers, say, 6 outside, two inside for "Kinect" style games, run "physical" games. People wait in line to join, they socially network and figure out a time to go together.

This is always on, kids can schedule times together to get access and go with their friends and it might take awhile to sort this all out, but after a week they get their scheduled times.

They have beepers when they go into the recess, athletic or kinetic games (laser tag), wherein, once the beeper happens, the teacher then notes, and possibly calls them, or penalizes them time for being late per time next time the scheduled active part of the day occurs.

The intrusion of the scholarship does not reach a authoritarian quality. It remains politely, but insistently and cleverly it advances the thinking of the game into another Context.

I remember enjoying reading History books about War. So did the most critical thinking of the people I know today, who also read books 40 years ago.

So, the violent games lead to History lesson, or, weapon design simulations, or toy production, or documentary production watching...but always some contact is available, though, a kid can choose do these alone too.

That might point out the warning signs of some people very well, and otherwise channel other disruptors, like ADHD kids, into activities they enjoy most...while engaging them in times of exhausted self interest, nevertheless intruded upon as subject (assigned the actual latin names for the animal avatars the Girls play with...good interactive design with teaching a subject through icons: math is naturally taught through game economics.)

Confederate Comedy

A no hold barred really obnoxious but historically accurate behavior of slave owners, drawn from Historical Dramas, which in fact mocks the disturbing reality, much like Hogan's Heroes mixed with Gone with the Wind, except, more like TV show and less about Glamor.

The Cotton is partially taken over for Watermelon production. The Plantation is set in 1864, so it goes from Confederate uniforms for the first third, then prisoner in the town with courtroom drama-comedy (as the Carpetbaggers take over), then back out to the plantation to employ a lot of the slaves left over, lingering on.
Doesn't need to mock Gone with the Wind but its the same plot. Except the War is not in Georgia, but in Lake Caddo, in Texas.

They're cariacatures, like Dukes of Hazard. The young blacks like Good Times, while the Father transforming, over the same period, like Father from Good times, to George Jefferson, a sort of hysteric taking desperate control over a business opportunity, and then Sanford and Son, a guy with a lot of wealth but its a "junk yard".
However, this Junk Yard is full of things he slowly auctions off and invests...but he a totally deluded Christian convert, and horribly manipulative...later acting like Black Adder to other familes.

Its not meant to be all that serious, you see.

But not at first.

The first episodes, the injured Confederate staying home for the war laugh and drink over the work of the slaves, taking advantage of their contributions, advice, adjudicating fairly over disputes, but totally economically exploiting them as they were a bit confused.
The white preacher goes and reads to the blacks.
There is mockery but the Plantation owners are not all that cruel, and do adjudicate disputes fairly, though, there is many times when the justice is ridiculous.

There is another black guy, younger, who invents clever lyrics mocking the Plantation owners and their visitors...its sorta like Hogans Heroes, the confederates sneaking in and out during Union troop movements, the Blacks wondering why these people are so authoritarian.
This one guy sings really well, but the Plantation owners gather to listen once in awhile, and of course, this develops into a questioning, which the Black guy singer doesn't really understand, and begins to quote from the bible perfect refutations, and then is hauled into the local town court.

Then the Court is going to find him guilty and black responses is rational but intimidated.

Some violence, but the black guy that talks about that is then included in these back room brawls.

But instead of being beaten up, he wins fights.
Then he is hauled into court for fighting and held up to the now invaded Yankees, who have come into the courtroom and make the Southerners change their tone.
So they bring this guy in and let the Singer go into Jail for awhile. Secretly.

But its a courtroom scene like Joe Pesci and Fred Gwynn.

In this case, starting from the beginning we move towards a Satire of Thanksgiving, or a Satire of James Fenimore Cooper...sketching in all the worry and evil and haplessness and ignorance of human folly...of the ongoing Colonial Imperialism, Piracy, and Virginia Slave Trade.
So more "Indian caricatures", more Indians to hire, in addition to Southern, and African caricatures in Satire. Not mean spirited...this is a fine line. Not so broad a caricature as...what we think. The actors are going to overcome, well, they should be able to overcome, and edit too, when the depiction is too mean spirited and ridiculous, and, not putting it in proper context of Historical ugliness.
They used to use ugly names in the Newspaper from back then, but there is no real interest in focusing on rebelling against political correctness...the Satire should not for instance, use Mohammed...its not meant to be so over the top as South Park.
More like black satirical writers....Do the Right Thing was a pretty good line to follow, and Spike Lee is a good example...but trying too hard to avoid the History, well, that is why we have a Southern Plantation owner caricature.
Everybody is an idiot, but nobody is a mean spirited caricature. Its a fine line, but an obvious line to follow so the work might require a narrower set of writing satire skills not typically available.

The Union are bedeviled by idiots, the common guys who are thugs are blank hipsters. Who are bigoted and fighting between themselves based on ethnicity, so the Irish guy is always fighting with the English guy, who is always fighting with the Dutch guy, who is always fighting with the German guy, who is bullying the Irish guy from the beginning.
Another ongoing shtick.

Now the idea is that from the History we also include serious scenes. Its a jarring tone shift...but, the point is to be able to draw from the narrative written three seperate threads, yet, also be able to weave them together.

Its not as hard as it sounds. This can be senses from the idea of including a History track, and a Historical Fiction track.
And then Satire track.

On the history track there is a black written history...but its site specific. So, there is a range of concentration.

The presentation would present in order, therefore, the black history to be built, or the other minority histories, must proceed from the founding of the Nation.

Then, another track would be produced perhaps the Indian and European War.

These people to be intimidated by insults.

But thats after a few main bits of production go through a second year.

So it kind of tracks along, the Satirical thread.

In this case we move towards a Satire of Colonial Imperialism, and Virginia Slave Trade, so more Indians caricutures. Again, the only sane character, who is killed, is the rational one who questions all this...and is always knocked as a function of the plot. So all the rational people are the unluckiest.


In fact, it might be more favorable to do first, not the South, but the North part of America.

Or, we start at Jamestown, Roanoke, Plymouth.

After that first year, the production has reached a point where it can expand exponentially, yet, what this core group would do is execute during that time is the Writing of the Constitution in that House thats still a museum., the drama of Jefferson, Franklin, Adams arguing and talking over composing the Constitution...

In that room. Then the presentation of it. Then the signing of it. In Independence Hall, with the proper confusion.

Then some footnotes...as the production expands into multiple areas.

My group doing the Halifax, and the crossing of the Delaware.

This becomes the question of how and what will be produced based on expansion wherein these initial State sponsorship kicks in and each state gets four more. The second year a plan for 200, with a bias we discuss wherein, we start with the earliest, post Signing of the Constitution. After that, its whatever, but many states dont kick in until later. Also, that is a strong suggestion, with perhaps insisting on at least one the earliest if not all to contribute to a model database.

The model database is built in accord with industrial catalogue and machine simulations, capable of falling apart, or, realistically assembled from general parts.

These parts can be generated by a modeler with a Historical framework one can dial on, and then of course add wear.
But it not executed in a systematic in the first year, for that year there are airplane components, wood structures from contemperaneous sawmills, iron rivets, tubular structures...the frame of the Hindenburg being quite a work of art, and even as disassembled, forms very useful frames for other fitting.
It may be possible to initiate a 3-d scanning project for museum pieces but I think they can be created by modelers. A United States 3-d product.
I dunno, sell some Treasury Bonds too?

More about Nationalizing the production later...

Well, given a great deal of funding...the production would occur in accord to Senatorial and House divying up the funds, and being producers of their pet areas and Tourists sites.

Furthermore, I think a second division should refer to Historical Marker database, and produced these micro dramas. Some horrors; hanging, torture, and of course battles.

4 divisions: State Historians, Federal Historians, First years, and a Tourist.

The military would supply consultation on battles. But I think we can rely on a generation or two of Historians now, stepping into the spotlight and capable of composing the Battle merely with a BA, and the use  of digital media.
If the Historian could direct, as it is directed to him by other directors, he can describe moment by moment what happened.
Its a certain kind of specific discipline, wherein, we find the Military historians very precise in moment by moment, blow by blow dramatics. Its only reference, wherein, the audio may contain a narrative track, but the Historicans writings as read by dramatizers is going to be the more solid dramatic presentations.
Occasionally you can get a Historican with great charisma, and this might enable many young graduates to let out their visionary energy in painting a very precise picture.

So its kind of a hiring bonanza for History graduates. And, in that case 3 are to be hired to cover each subject...as consultant.
This consultation includes more pay if writing is accepted.
Now, the overall Audition cycle would include a lot of people reading aloud the text of this consultation, for it is to be a very small group online.

Before I get into that, I want to widen the range at which these graduates are accepted. So that no matter the quality, there is always to be three filling four productions. So if there are State funded productions, those production must also fund this template.
Casting agencies can present this material, the readers audition reading it, it is submitted, I believe, once daily, aroudn 4pm, to the Audio staff.

They can be doctrinaire, what they are doing is participating, more or less, in being provided minimal funding, something they can do on the side instead of working 40 hours...they have a part time job, a gaming habit, and time to do this job. Or they can live lower, with more slack, and not have a second job, and hopefully, with this prompting, get progressively more competent in the exercise of the different phases of the work. Consutling, Writing, Presenting (voice over...enters into the Actors agreement).

Historical consulting, writing if they pass the Editor, reading voices if they pass the director.

These are drawn from the first year, wherien, one of the Historical writers is appointed Editor, and continues into the second year.
So there four Historians. An Editor who is using social media to assign and review and discuss.

From this social media there is the Auditions.

But that is a minor track. I just want to add the most minor track as a concept of granularity, which is inherent in using the Historical Marker Database in a earliest to latest scheme.

Anyway, the Historian, doing more eventually, they would incrementally receive pay and have more time devoted....moving out of a part time job and receiving some perks, like travel perks to participate in on site consultations, but they would be writing.

So there is some funding to seed that, hiring three recent PhD graduates in History here in Austin.

Wherein, there is consultation with a sitting professor in Archaeology and/or History.
They are given a budget to provide for their own consulting...which is procured by request to admin, so they have a standard fee they pay to justified specialists.
Not sure what that exact number should be.

These specialists are credited but their contribution is by approval of the sitting professor in Archaeology and or History, the SPAH, and, the provider of the funds, always available on the social media (the Exec?) then immediately, on contact BING spends some time examining the reasoning and references and, perhaps sampling the specialist beyond the references as implicit but not really necessary a practice. They might be recruiting for writers.

So, the Editor has the specific references, the stories, the specific History that is the VR...after the first year these might be significantly larger files...then let the Executive distribute funding for the Historians to use each other to reference! That is possible. This is done on the social media site for everyone to read...but really the other Historian is not really beholden.
Its more casual perhaps.

Whats written and submitted is read by the Actor. What is written to be read aloud by the actor is a kind of strict level. There are two lengths of sentences, and two kinds of paragraphs. Each one half the size of the other. So the brief, or, the lengthy, with a maximum number of commas being four.
Actually, a strict requirement.

In the program mixer it is possible to add sounds as transitions. Its like producing a radio show, so, the presentation of the Oral database as read by these three actors/Voice Talents, refines these practices and perhaps enables by some more complex ways, to create transitions from voice to voice without it being a Editorial effort, but simply programming with the User can decide a kind of Edit.

Before this, there is the Austions, the readings of the social media, identities obscured, who read out loud, by voice actors, as a minimal side work involved in casting...so the reading is also done for casting, and the casting will be consistently dynamic.
So a minimum number of actors (stressing more Voice talents really) will be hired per project.

While the Historians social talk the issues of the day as presented by the Editor on social media...each person is allowed ten posts, asking for advice but not so involved as to create the other to find a reference, although that gives them a bit of pay...but unlimited comments.
The work for each other is only obligatory once per day.

So one person is up, always, there is one person required to do some research footwork to examine a written work of another Historian...but since its Social Media...they are required to run it while they work...and once a day get a certain different "bing" wherein, its their turn to check somebodies reference. These can be expected to occur in a scheduled time period.

The posts are read out loud with a string of sorta improv auditions. A new person is added to the mix and one person leaves, but there are five readers...

So the company is constantly auditioning, and then sending a group of actors into a reading of the history as voice talents, 3 per project.
So, on any one State, there may be four projects per year. That means a local agency is funded to audition, in order to draw out twelve voice talents per year.
But since these voice talents work six months, there are two hiring phases, and three more are hired every three months.

This in effect goes into the Nationalizing of some agencies.

They Voice Talents shift from written material to written material..as the same content is read again, by another group, in order to add programming to the reading.

So, when new scripts are being written for the History to be read, there is Historical Drama writers to then be included, who listen and participate.

The Actors Voice talents have some leeway, but, they are listened to, and then commented on by these Historical Drama writers...wherein the Drama is composed and during the Virtual reality readings of history, they work out, sorta like Header and Footer of the event.

So the work is kinda of piecemeal, for as the Historians publish, the Actors read it (regardless of version..in order to test its formatting), then that recording is stored in the database by length of time.

Meanwhile, the Actor and HD writer discuss what this brief expository writing in the audio program of the Virtual Reality.

All right, so the Dramatic Writers are making entertainment.

The Actors are reading History and Dramatic scripts.

The Historicans are discussing and writing commentary and voice over work for VR.

So, this means to go into the Entertainment industry, and leveraging the backing of the Virtual Realities, to Nationalize as many Actors and Writers as we can...depending on the funding.

In other words, what we would be getting investment from for the Entertainment productions (who get a easy deal on using the VR realities) is in part to Nationalize the content being produced.

This is done somewhat in the past, but from a too old style production method. Those self conscious tools of rhetoric, or what is called cookie cutter drama, too much full of its own sensitivity to History.
Its actually been a steady incline from the low point of arch Historical Myth, each generation toning it down, eventually, due to our literary tradition, also inspiring Satire.
But when we mean to have Wars, and Disease, and Slavery, and cruelty of all kinds, what we need are honest stories and realistic presentations. Actual, HD as possible hangings. Dead bodies bleeding...that kind of realism perhaps only Renderable in the Entertainment product, but certainly eventually we can use the 'over-produced Hero Model' whose resolution had been too high, but now passes a threshold of computation...lets say, three years from now!

Now, there is a collection of such writers, working at Hollywood, making Historical Dramas.
So, specifically, we want to Nationalize those writers...get them out of writing up random Historical Dramas, and instead, employ them and a few more Nationalistic writers, who are younger, graduates of Creative Writing schools, and use them to put pressure on the old doctrinaire...perhaps these two contrasts in History can provide good Satirical writers...who are sometimes Historians or amateur yet insightful. Philosophers a few too...

So, in effect, the filter through which to derive these historians is diversity, they need to repel each other, and be affixed on a axis of Nationalism.
Something the User can move a dot around to get the more biased view...but skewed not in just Libertarian-Authoritarian and Social and Individualistic? What...add to that Idealistic and Pragmatic, and I think a philosopher or a psychologist can meet the requirements.

The Diversity is tricky, for its not really ethnic diversity, but diversity of approach. Sure, always a straightforward Journalistic approach...always that one slot in the twelve.

Now, the States might increasing the funding for more than four productions. Or, the productions might be quite large...so there is this variation.

I mean, if I were Pennsylvania, I would go for Gettysburg, yes. But maybe after one year of micro histories, following the schema of Tourist, etc, to get a handle on the production.

These people are given the posts of the Historians: three Historical Drama writers, like the one from Spartacus or Vikings or Pillars of the Earth, and one like Tarantino or Mel Brooks...Satirists.

These schedule times to consult with the Historians, so the Historians have a third task, but this is scheduling is slotted, so Editors and Execs can listen in. The Historians listen to the drama, and comment...perhaps in the middle of the day, they come back from lunch or during lunch, listen to the Historical Dramatists and Actors voice overs, and say, naw..., or good...or....etc.
I have some rules for this, but then later that day, at 4 pm, there is a break, and they listen in again.
Should be a briefer listen in...

There is a kind of filter or agenda to be employed by the Historians, this perhaps overseen by teh Exec and the Editor: Political Correctness, bullshit characters, poor grasp of the events, wrong tones, mis blocking,etc.
The Exec need not always monitor this but the Actors and HD writers can appeal to the Editor or Exec about a Historian going nuts with microdirecting.
Which means probably a hire in the immediate future...not reading but presenting onsite the picture of how things happened moment to moment.
We will accept a good Oral presentation to writing.

I would suspect these Historian may in fact move to nearby the site and work there for that year.

Now, the historians cannot decide of the jokes are funny, and they cannot make the ultimate staging decisions though again, we want to know which Historians think they can do that, in order to get them to contribute in another way.

To convert this into the first production: Kitty Hawk...who is the voice of Wilber, who Orville, who is in the cast?
Well, at first, its just reading of the text chosen, and then that text, which can be re-enactment writing by the Historian included in the voice over text, then enlivened by the Actors.

So, in a way, the VR provides a peg, into which is drawn a Historical Drama, but, we are not interested in tidy beginning or ending...no need to create more than what is already there...it being a kind of glimpse, and perhaps ultimately having the feeling of stream of consciousness, or a Antonioni/Trauffeut or at best a Bresson Neo Realism sorta be the idea.
Wherein, the dramatization, which will have a range of poetic license, yet, narratively it is verboten that the moment is enlarged into great biography or character backgrounds.
Yet, there can be some skipping ahead and skipping behind.
Only on special requests can these tight sequences make major leaps in time.

But this is not a concern for the first year.

The actors make it fresh as possible, putting drama into the portrayals, drama based upon conversations that are in the Hindenburg, the Shipwreck suprises, so some freedom in composing sidelong conversation to the events as the event occurs in surprising ways...while in the Wright brothers and Spindletop the characters conversation is expectant.

in these first presentations...

So, Orville and Wilbur have technically appropriate dialogue about the engineering, the speculation on the wind, all presented in a kind of way that teaches, and is not interested in heightened feels.
Assuming they would be reassuring themselves its going to work in these conditions, and perhaps betting on what breaks (based on their own research or notes on the process....what was the first thing to break? then the next? This they predict as part of the expectant dialogue).
Its not necessary to have hysterical drama, or Television style ginning up of emotionality.

But, for instance if Orville divorced his wife and later develop alcoholism, then in that slice of time that is being produced for leader and footer for the VR, as a narrative of a Historical Drama, Orville might, if his wife is present, have a fight.
Or, Orville can be portrayed as a bad guy.

So what he have is some incremental based on the assumption of character as executed by consultation with Historians.

Therein, the Dramatic writers have to produce perhaps the boring quotidian.

However, later on, after establishing this pipeline, the subsequent VR's chosen, four per State, there will be more sytematically early (so that Texas History begins its signing of a constitution) chosen as that famous dramatic moment of the State History,  and the more touristy.
Meanwhile, overall there is the Historical Marker database, which picks out the earliest Historical Marker there...historical marker having the flexibility of being perhaps a plinth or current museum complex.
There will be plenty of material for a crowd of Nationalistic Historical Dramatists, drawn from doing another series on Rome, or doing another satire comedy sci fi.

The third tier, where it more a professional execution, the sky is the limit, and therein, some of the voice talents are brought out, and perhaps some Writers contribute to both.

However, there is probably going to be a database of these performances available for director and producers to pick out what voice talent or "actor" who performed well in the Historical Drama.

The reader from the Historical material might have quite a journey, if they make it from reading, to acting in the Historical Drama, to then acting in the Satire.

But that is the idea, to have a set, not the typical Theater ensemble, and narrower than a entire casting agency database.

Hence, along with the funding for a Doc crew, is a Voice Over cast of three, who, oddly, each read and have used that text as establishing a database.


The studio rental includes employing a Historical Drama, wherein, another three sets of three actors, all do the production. This way the three Historical Drama produced are to not only contain each set of actors...the first three first working with the "going back from teh VR" writer, the second set of three working to fill in the present, and the third working with the "going forward from the VR".
Then each one of these shifts, so that there are three produced versions...now...the Historical Dramatists are not to try to hard to intrelace, instead, we want their three interpretations to have a totality as well as a capacity to mix into the others....in the sense that secondary characters from Historical Drama One can be taken and replace secondary characters in Historical Drama two. Sometimes.
This is additional hiring of for re-enactments, three writers who consultation with the Historians employed on the VR production, who gets payed for this consultation too.

So as the four production go on, for a total of possibly three sets of three actors are performing three scripts. One however can change the four productions into two productions, therein, what was three actors, three historicans, three scripts, or, in total, twelve Historians, twelve actors, twelve HD writers, there is now six actors, historians, writers.
Which is confusing. Basically, per production for a total of four there is a range of twelve to three set of writers, actors, historians.
Which, then, means, there is possibly a increase in range if the production is two year or three year, like Gettysburg. wherein, the systematic organization breaks down over turf...

But anway, as a format for the first year, and a limit to the sizing to larger in the third year as the production can be more organized over proper talent, scale, and other discussions.

They are also reading the Historical writing of the Historians as voice talents for a VR.
Its possible that a State, after the first year, might do this:

Two production per year (as they are larger). Well, the Actors then come together to form two...means more work more or less, for the basic three. There might thrown in a fourth or fifth at the beginning...for the Entertainment production...all voicing.

So there is a Entertainment funded group, and a Government funded group. Within the government is funded three productions, the VR, the Voice over production, and the Documentary production.

The Documentary project is ongoing, yearly.

The Oral Tradition Library is onging, yearly.

The VR is ongoing, yearly.

The Entertainment, pretty Nationalistic but also producing Satire, is ongoing but otherwise funded through Banks and Venture Capital.

All projects coordinated into parallel projects.

This starts the second year, after the first year of implementing the VR and producing mere re-enactments as animation.

Wherein, those three separate production tracks begin as well. But that requires a separate Entertainment Budget, wherein, there is hired nine actors, three of which do voice over narrative, and then nine doing three versions of Historical Re-enactment, but in this first year, voice over and animation, not Live Re-enactment.

Two first year productions of limited size.

The Historical Drama is composed from this filling in the leader and footer of the Virtual Reality, so there are three script writers working with the three historicans, who compose footer and header for voice over and supplemental action in consultation with the Mocap for animation.

However, when the first year is over, the bigger Entertainment budget comes in along with a State by state budget funding...and a move of the Federal NEH granting moved to the Department of Historical Markers, who then also work with the State projects.

In addition to the ongoing yearly funding for the Doc, Voice narrative, and VR production which also expands as part of the NEH funding, but then supplemented by the State productions.

The Historical Drama to be produced in 2017 will begin with the moments before Kitty Hawk and the moments after, whose length depends purely upon the Writer and Historian discussing, in consulation with the Exec, where to stop.

First, some writers are selected and offered the project. Three Historians are picked out, and the Editor is picked out, the Drama writers, and some first Actors: all paid minimum, but all working online as social media is online.

Later. the second year funding by the Entertainment side, keeping up with the State projects, there is
implemented onsite a Virtual Reality, there is also a Re-enactment or live production, with part of the production becoming animation here (at the Virtual Reality) and there.

The Actors act out and mouth lines, or actually perform and the other audio is conformed, animated characters that are actually the Actors being motion captured.

The Virtual Reality then having very hi rez which at the state of the Art of the VR, is not necessarily what the VR can be, which I suspect is a resolution somewhat lower. Therein, the production of the animation need be realistic as possible yet included into not only into the Re-enactment, but also into the Historical Drama, wherein, larger budgets and more time spent rendering is the option.

These models will be available for PhD, who order up renders whose resolution might be lower, for free...as their PhD are to published online...when hired for the position. If their PhD has any reference to the History they are two consult about, write up, and otherwise help to create.

So, the second year production has a bit of expansion in various areas.



The Entertainment, pretty Nationalistic but also producing Satire, is ongoing but otherwise funded through Banks and Venture Capital.

All projects coordinated into parallel projects.

This starts the second year, after the first year of implementing the VR and producing mere re-enactments as animation.

Wherein, those three separate production tracks begin as well. But that requires a separate Entertainment Budget, wherein, there is hired nine actors, three of which do voice over narrative, and then nine doing three versions of Historical Re-enactment, but in this first year, voice over and animation, not Live Re-enactment.

Two first year productions of limited size.

The Historical Drama is composed from this filling in the leader and footer of the Virtual Reality, so there are three script writers working with the three historicans, who compose footer and header for voice over and supplemental action in consultation with the Mocap for animation.

However, when the first year is over, the bigger Entertainment budget comes in along with a State by state budget funding...and a move of the Federal NEH granting moved to the Department of Historical Markers, who then also work with the State projects.

In addition to the ongoing yearly funding for the Doc, Voice narrative, and VR production which also expands as part of the NEH funding, but then supplemented by the State productions.

The Historical Drama to be produced in 2017 will begin with the moments before Kitty Hawk and the moments after, whose length depends purely upon the Writer and Historian discussing, in consulation with the Exec, where to stop.

First, some writers are selected and offered the project. Three Historians are picked out, and the Editor is picked out, the Drama writers, and some first Actors: all paid minimum, but all working online as social media is online.

Later. the second year funding by the Entertainment side, keeping up with the State projects, there is
implemented onsite a Virtual Reality, there is also a Re-enactment or live production, with part of the production becoming animation here (at the Virtual Reality) and there.

The Actors act out and mouth lines, or actually perform and the other audio is conformed, animated characters that are actually the Actors being motion captured.

The Virtual Reality then having very hi rez which at the state of the Art of the VR, is not necessarily what the VR can be, which I suspect is a resolution somewhat lower. Therein, the production of the animation need be realistic as possible yet included into not only into the Re-enactment, but also into the Historical Drama, wherein, larger budgets and more time spent rendering is the option.

These models will be available for PhD, who order up renders whose resolution might be lower, for free...as their PhD are to published online...when hired for the position. If their PhD has any reference to the History they are two consult about, write up, and otherwise help to create.

So, the second year production has a bit of expansion in various areas.

Live interface of the Virtual History

In this new world of info, I would like to show how this idea formulated:

Studying film theory and editing, practicing it, then moving onto Shakespeare and watching movies about Shakespeare and reading the plays. That probably sparked the move into technological manipulation of the senses, creating illusions, or, as a subject, temporary delusions...such as dystopias, horror films, action, etc.
The edge of that removed now. Dull as a 50's black and white television show.
All of the best moving films still have edgy moves, so these are useful for creating a system of camera moves to insert...all the edits there still unrendered.
What is removed is the data about the camera moves, not the edit. Then the number of camera moves divided by the length of time of the sequence.
Stills do not count.
Unless they then begin to move later within the sequence.
So, we get results that classify all the range of combos...
one shot moving image that is two minutes long
two shot that is one minute
a three shot which is forty seconds
a four is thirty seconds each shot, etc.

This is then deplored as a fractal wave into a sequence of content.

Now, this is somewhat like the fragmented music video of the early eighties. A lot of trite and not-all- that-well-told story's.
However, the point is to find a optimal place after mixing with spaces that are pre-programmed with camera swarms. The bees inside the hive fly into different combs in different configurations, turn around and look out. Then fly out again, some leave, or more come in, and back they go in, to turn around...
Meanwhile a swarm moves from inside to outside...the swarm being of at least 3, but can go up to 8, there always being the 1 face frame.
This is all viewing in total the 3-d content. Its moving around acording to a spatially dominant point, but skipping out to the other perspective now and then...this sometimes a controlled movement in interactivity, however, it can also still function automatically to link content...as after a brief spell, given the previous sequence, there is a increase or decrease in AI, wherein in a descrease is an increase in options, while a increase is a eventual disappearance as the screen show has become compelling to watch.
There is an earlier example of this, which forms a database of location footage. All of the location footage in Film Commisions in every state should be archived, this archive is then like the coverage of New York during the shooting of the 1933 King Kong.
From the book The making of King Kong by Golder and Turner;
"Schoedsack and his crew filmed establishing shots in the harbor of New York City. Curtiss F8C-5/O2C-1 Helldiver war planes taking off and in flight were filmed at a U.S. Naval airfield on Long Island. Views of New York City were filmed from the Empire State Building for backgrounds in the final scenes and architectural plans for the mooring mast were secured from the building's owners for a mock-up to be constructed on the Hollywood soundstage."
What has been former footage is now early sketches, the first program, just cycling through all the footage on a dateline, which create a 3-d swarm of virtual cameras.
They also organize to a flying pattern...all can be then reprogrammed in the 3-d arena, as the placement of the camera is due to a pre existing swarm configuration.
The standard configuration of 9, 1 constantly framing the face for emo, is swarmed further into the 1st potential set. That 1st potential set is two lobes that center on the face frame, then broaden out into two opposing funnel shaped, lobes, that expand from a axis, which then forms a network, wherein, its 27 camera lobe with flexible axis (or center of focus).

But without the swarm totally occupied, there subswarms where the pattern is in closer yet the placement is not east west or left right in more or less horizontal axis, but instead a oddly distributed field, with slots for varying amount of cameras in more of a bubble.
This bubble can be, on occasion, filled with 63 total frame, but then were are a bug eye looking into something, some 3-d model and thats not practical. However, it does produce an odd limit.Its kinda like organizing improvisers to play characters online, simply in chat. As one character gets more screen time...due to a simulation of an audiences eye movements.
And then slowly reshuffle a bit. So the fractal tunes in...provided now the space of the content is pre-grammed...with a deployment of 6 camera wide, 3 camera close, 1 camera close up from a third of a circle arc pointed at the characters face, trailing aside, then having two randomly scattered wides shots.

Camera programming design again.


Anyway, the cited books:




Gold Rush Port: The Maritime Archaeology of San Francisco's Waterfront by James Delgado

This is mentioned first. It might be the most hinge point because it occurred to me just how much data Archaeologist physically add to History. They provide a real set and setting of human proportion and interaction. History jumps from to many more sets and settings within it narrative.
But they really add a lot to each other, even as comparative History, analogous develops, patterned, can also be applied in a sequence or format...for instance, the difference between people working on factory floors assembling cars vs people making pots on potters wheels vs people 3-d printing...each one being a function of History.

Quantitative data that is pre-designed models. Press a button and boom you have a technological level, but there being a very very fine grain to the near future...as it is more a catagory than a necessary ranging around a scale. But I digress to the entertainment venture that is to spring forth later.
Web design...err..uh:

One puts on a cardboard mask, the google one or some other folded style. The screen activates and the viewer can see a target which overlays the camera screen. Then, a voice says, along with a blinking line pointy line "icon this way", which does move...its a icon into which the model on the ground must be affixed to. There is frequently plinths and so on where the tablets can get locked onto a single point. Or, they can be programmed. So the person walks over, perhaps stands in a impromptu cluster or is lined up by the teacher or docent, and they lock on the plinth model, then step back to where they want to be and wait.
So at first the voice says "to aim from here, step toward the Hindenburg model and match the screen with the model."
In one of those incredibly intimate yet dispassionate voices like from Logans Run.
Then it asks if this is where they want to be? There is XX:XX amount of time to move.
Which is after the last tablet signs in might be a bit of intro, with nothing really on the screen...a voice explaining...then this says, "Well, then okay, prepare and put the Video Hat in front of your eyes and follow the arrow to see the Hindenburg Disaster in Virtual America.."

After this the image slowly moves into view as the sound of the engine increases in audibility...some kids turn their heads, looking at whatever is occuring in the Virtual space, perhaps the crowd of reporter is right behind them, but they turn back, an icon appears. Its in the far right corner where one can fit a single finger. This is not handiness exercise. One simple presses a button and there is enough space in the side of the cardboard that two fingers can more around..or a thumb can be placed over the screen while the grasp of the hand enables some leverage.
So, there is a icon driven reading one can access. Or even if that is accessed then a larger category pops up or enters stage right, stays far stage right, then exits stage right.

As this interface can be more polite as well, as the user is to be still most of the time while watching the beginning, say, an announcement, screen goes dark, all setting now set, there appears on the horizon, buzzing with hard driving engines, a tiny image...though, it is not the image imposed over a camera view...it is instead a whole world view, which is Air Force Base.

The Hum moves realistically from ear to ear, based on where it is in the sky as it approaches, and therein, the men on the ground can be send attending to utilities, the reporters and those waiting for arrivals clustering around, their speeches cease.
At this point or perhaps somewhere before or a little bit after, depending on the actual staging of the leader animation as it pre stages the actual event...
Anyway, an voice talent begins reading,,,and its the default, which is written in this initial historian narrative to refer and pre-stage the transition to the famous radio announcer.
Soon after, like two or three seconds after this initial voice over narration of Historian so and so, an icon appears and the viewer can switch to two other voices and histories...they of course, then here the voices switching around, and once this happens once, another icon appears that read, "switch back to first voice" or, you can touch the other icon which says, "advance to the next voice".
If they fiddle with this a icon will appear to again switch the Historian..probably an icon of this person...what they choose as their icon. Could be their image, but not always.

The action continues regardless of the choices, the viewers are moving inexorably toward a moment. Unless they press pause, which is a button on the tablet and not part of the overlay on the screen.

The ground crew scrambles...I think its about here the announcer begins...goes on for awhile, but we also will an icon which appears here, first in the series of ways to alter the data.
The viewer can choose the narrator, who has had a single reader, or switch around three narratives with one narrator.

Virtual Bibliography

This list includes Historical titles which contain Historical and Archaeological quantitative data, immersive 3-d worlds, and technical manuals and inspirations based I think on the idea of "the double".
Almost all good historians do this, but that data in those History books is not so available in other documents, as they are sometimes but written so that more documents can be plugged in, which are not redundant to the images in the text but duplicates of course in time and space.
These inevitable dissonances and inevitable concordances lead the reader to interpretation.


The Making of King Kong, by Orville Goldner and George Turner read review at Goodreads.
https://www.goodreads.com/review/show/1524319878


Snow Crash by Neal Stephenson

Techniques of Rehearsal by Shomit Mitter

City of Heroes MMO by Cryptic Studios, Paragon Studios and NCsoft.

The moving body by Jacques Lecoq

Commedia D'Arte a actors handbook by John Rudlin

The animator's motion capture guide by Matt Liverman


Crazy Horse and Custer by Stephan Ambrose

Crazy Horse a Lakota Warrior: William Marshall

Cavalier in Buckskin by Robert Utley

3ds-Max 8 Essentials Autodesk (various authors)

Autodesk Maya Techniques, Hyper-Realistic Creature Creation, second edition, Autodesk

Geronimo, by Robert Utley, which explores writing events from two points of view.


Gold Rush Port: The Maritime Archaeology of San Francisco's Waterfront by James Delgado

Anomaly, by Skip Brittenham and co-creator Brian Haberlin.

Android Application Development Reto Meier

Think Python by Allen B. Downey

After full conceptualizing:

Hawser, by J. Hardy Carroll

Presidential Temples by Benjamin Hufbauer, reviewed by Betty S. Flowers

VR Writing and Recording

Even if ther faulty in their thretoric, with some grace supplied by Editors, the Mills need emerging voices, and even more so, we need emerging voices from from the First Digital Age.

Year One took about ten years to emerge...and its only half of them.

So, if the voice rings somewhat bland, or untrue, emotional, ideological, there must also be something Mill Gen distinctive, like cohesion, simplicity, due to a compression of media consumption.
This should simply evident as they spend less time to get to more material. Burst of some kind of new scholarship that thrives in digital audiences.

First wave was the early civilizations....from Sumeria to Maya. These two form a kind of beginning and end, but the Maya are a exception that occurs in the beginning of the Next wave, which is the 700AD.
But the Maya fit into the older civilizations, about like that of Sumeria, with similar pyramids.
Anyway, second wave is Turkic, Arabic, Siamese, Japanese, Nordic, Zimbabwean, Nigerian, and Oceanic last, in a miminal way, but just getting in.

Odd the Arab would be so willfully illiterate for so long! But, they are like many civs who engage in violence in so far as the other civs might see them as the people who hammer a square peg in a round hole.
The younger sibling first use of literacy, you see.

So, now there is a Third wave...the digital wave. Smaller length of time, and, in a way, its like the Human race is tuning in to a kind of increasing compression of knowledge...adding a narrow band of literacy to then focus on a more precise moment in time due to Oral and Visual traditions equalized if not adequate for the application, such as rhetoric.

We, who came first, came first by a measure of weeks. However, it has taken about a two decades to get a pretty widespread global network.

And our generation then picking up the signal as the dying older media revert to scratch tracks.

But I mean this is just par for the course. A breezy style. A kind of humbling eloquence...sorta like the Star Trek episode, where the couples eyes go blue, and they study everything for like 12 hours.
They'll have that kind of prophet among us presence, glowing with newness.

said John the Baptist.

So, who should I anoint? I claim little responsibility for this action. I know too many journalist, though, I would listen in for tone.

Who are the Authors to be paid. I will figure that out at first, but the state by state hiring is probably going to be not application, but just submissions collected to Departments. In other words, all of the department of History should have compiled the work of the students whose grades measure enough to fill that slot of three. More than one University per population.

Fragments which present naturally, and written to overlapping here and there...but then one can pick one over the other...

Voice overed.

Might be Philbrick, but anyway, the idea here is the viewer listens to the default interweaving,,,which is randomized but equally spaced...first one is presented, then one or another is offered for choice a preferred voice.
 if preferred, then shortly after perhaps three (having it been alternating reversals) versions of preferred voice and author, the voice can shift from one author to another, and the viewer can again, choose which reader they prefer and which author they prefer, but then there is introduced a third author.

Sometimes this means authors who are public domain and this how using them when necessary as it is taken out of the overall spending on all the others.
In other words they can afford the discount: the cost, minimalized, has a percentage of a ongoing package.

The idea is too employ as many voices talents as possible, and then having it mix.

The thing is, as each animation has a different site, an author might shine here, and dim there.

But a voice actor can overcome that.

Its just the idea there is a Oral database set up, composed by actors who are good readers, which reads current scholarship, including PhD's.

The viewer can take the random, or, they can choose to listen to a single author, then a single voice.

Or, after maybe a few locations, they get bored with the author-voice, and change to a different voice.

The actors might have insights while they are reading which they should add, as vocal footnotes..so they could read the footnotes as a second voice.

It would be a voice like you were doing your own footnoting, but the actors who can add footnotes...after a while you get insight reading History, you can compose that for a final reading.
Later you can have your own footnotes edited out...
"oh, I shouldn't have included that now that I've read Boswell..."

In a way its building a National reading of very particulars histories as well as very broad, more popular histories.

Probably a long time gig for many actors...employing them, now and then, over a few years.

Chris Enns has written a lot of women's stories of the West. But there are a plethora of women writers, and any period will have reference to even the lesser writers...though really bad history we might include in a additional database.
Thats a bit more work because one has to edit out the laughably bad history.

But, perhaps another expansion.

The point as uneven in quality of writing, a voice actor might click with that author. A second rate author is redeemed somewhat, by a first rate reader.

What we want emotion in these...because the room to read or inflect into the material is narrowed...it really, really needs to come from the heart.
Because, all readings will have a varying music, and the more the emotions range and come out, the broader the musical selection.

An voice talent really gets to shine in particular...and of course singers might have a good chance to participate.

However, it has to start with four: two women and two men reading two women and two men.

Then the programming accesses the database.

Persons out of Prey-ville

Even the good kids I have being a redemption

for all this shit I had to go insane.

Yeah, I know. I dont really mean that in a mean way,

but in a sense I can feel your pain

having your life hijacked. But there's a reward in being a parent,

might be a generational thing because of so much rampant

delusion individualism wreaking havoc

 having "no life", the hipster put down,

actually means family before money...

which amidst that confusion you at least have clarity.

So you are not that bad off!

Brad however was hard to know, not like Jade, who posts

just as hurly burly, wither and non, yet I'm not so overdrawn.

You know  not much anger or resenting, just from the beginning!

And, you are making people do too much for you, Mike.

Brad is too sad, stuck in his self lab.

Jade is working late, perfecting debate.

Sonia goes on and on, stuck between old and young.

Mike's mums the same, a parasitic brain.

Golda's still a greedy spitting hag in drag.

More bland than Marshall McLuhan.

Nichols is beat, through, he still works the street.

Greg is dead, a bullet before the cancer spread.

and my nemesis keeps one step ahead.

Posts yesterday's yesterday after today's yesterday.

Now tell me what or I break your neck,

while your bodyguard yell inflects,

just threats, postures, after his wreck

Families amass the best assassins,

police trained, and on videotape pretend.

Sometimes you meet profoundly good

I only gotz a few more slots in me brain...

and these niggling things, your slobbery

neglect and misarray breeds resenting

and bizzarary.

Motion capture lesson two

To create a dance sequence via motion capture, one would stagger the entry and exit frame...thus laying them equally one on top of the other in a editing sequence (but composite sequences...foreground to background, diminishing...its a motion file assigned to a variety of similarly costumed Saytr's...fauns...and some Trolls, an Ogre...and the character. These dance in lines, or routines, like a Ballet but not using ballet, but files captured with simple improvised dances...the production moment itself originates novelty.

But as it would be the same motion, it can be staggered...yet, the symmetry would remain even though it phased by fractions of seconds.

Yet, there is another way which is to slow down part and speed up parts by using curves...

and again, those can be combined.

Its these simple range of things that can create this effect, so as three combined it might be easier to have sliders.


There was a sodaplay three slider modeling with vibration, gravity, some other kind of factor...tensility. Which was very similar to vibration yet tweaking them you could make thing mobile.
Its like the engines they create in Besieged using a programmed to hop Knight/Peasant, which if confined activates springs and levers.