Manifesto by other people

These quotations from other people's works shed some light on motivations within alternative worship.

To play is an intrinsically critical operation that questions all information the player is confronted with. The player asks: what if? And moves on by trial and error. Questioning the meaning of things and situations, considering the possibilities for alternatives, checking the obvious against the obscure, all are essential to play.

Max Bruinsma, Eye magazine no. 30 winter 1998

Enhancement of the message can sometimes mean that the message is made less accessible instead of directly proposed.

Max Bruinsma, same source

We have not discarded lines of enquiry merely because they appeared to be ridiculous or stupid, and we have made as many mistakes as we could, as quickly as we could. Most importantly, we have found that designing for a medium so new that it has not yet evolved a cultural form, or a language of its own, is almost impossible. The only way to approach it is to play, to explore it creatively and without preconceptions. And in a curious and unexpected symmetry between method and content, we find that the pieces we like best [and which work best with audiences] are also playful. In fact it appears that a quality of playfulness is essential to all engaging interactive representations: play and interactivity are connected at a deep level.

Andy Cameron, designer at interactive media company Antirom, writing in Eye magazine no. 30 winter 1998

The Temporary Autonomous Zone is like an uprising which does not engage directly with the State, a guerilla operation which liberates an area [of land, of time, of imagination] and then dissolves itself to re-form elsewhere/elsewhen, before the State can crush it. Because the State is concerned primarily with Simulation rather than substance, the TAZ can 'occupy' these areas clandestinely and carry on its festal purposes for quite a while in relative peace. Perhaps certain small TAZs have lasted whole lifetimes because they went unnoticed, like hillbilly enclaves - because they never intersected with the Spectacle, never appeared outside that real life which is invisible to the agents of Simulation.

Babylon takes its abstractions for realities; precisely within this margin of error the TAZ can come into existence. Its greatest strength lies in its invisibility - the State cannot recognise it because History has no definition of it. As soon as the TAZ is named [represented, mediated], it must vanish, it will vanish, leaving behind it an empty husk, only to spring up again somewhere else, once again invisible because undefinable in terms of the Spectacle.

Hakim Bey, 'The Temporary Autonomous Zone'