From 77280bdf284eff7299a257f33a68317a7faf5db7 Mon Sep 17 00:00:00 2001 From: Jeff Emmett Date: Wed, 18 Mar 2026 19:34:08 -0700 Subject: [PATCH] Remove durational structure and shipping container references Co-Authored-By: Claude Opus 4.6 --- index.html | 6 +++--- 1 file changed, 3 insertions(+), 3 deletions(-) diff --git a/index.html b/index.html index 9ec9d0f..9ba37a0 100644 --- a/index.html +++ b/index.html @@ -739,7 +739,7 @@

Cultural Reclamation, Nervous System Restoration, Climate-Resilient Housing

The Last Draw/Home operates at the intersection of three urgent imperatives: cultural reclamation, nervous system restoration, and climate-resilient housing.

-

Through Ghanaian indigenous practices—sound frequencies, ceremonial pacing, ancestral storytelling modalities—the project invites visitors into what we call “cultural design”: architecture and narrative shaped by the epistemologies of the communities it serves. The durational structure mirrors ceremonial timescales, giving participants space to move from cognitive processing into somatic knowing. AR layers, volumetric projections, and spatially mapped soundscapes create environments where visitors encounter their own stories reflected back—not as trauma, but as source. Ultimately, The Last Draw/Home asks: what would housing look like if it were designed to heal? And what stories do we need to tell to build that world?

+

Through Ghanaian indigenous practices—sound frequencies, ceremonial pacing, ancestral storytelling modalities—the project invites visitors into what we call “cultural design”: architecture and narrative shaped by the epistemologies of the communities it serves. AR layers, volumetric projections, and spatially mapped soundscapes create environments where visitors encounter their own stories reflected back—not as trauma, but as source. Ultimately, The Last Draw/Home asks: what would housing look like if it were designed to heal? And what stories do we need to tell to build that world?

@@ -753,7 +753,7 @@

HOME — The Experience

-

The durational structure of HOME mirrors ceremonial timescales, giving participants space to move from cognitive processing into somatic knowing. AR layers, volumetric projections, and spatially mapped soundscapes create environments where visitors encounter their own stories reflected back—not as trauma, but as source.

+

AR layers, volumetric projections, and spatially mapped soundscapes create environments where visitors encounter their own stories reflected back—not as trauma, but as source.

Each sensory chamber is designed using neuroaesthetic research to activate specific neurological responses: lowering cortisol, stimulating oxytocin and dopamine pathways, inviting the body back into safety. Visitors don’t just observe—they participate through story and immersion. The experiences trigger the parts of the brain linked to joy, happiness, and euphoria via film, oral storytelling, sound frequency, bass vibrations, volumetric laser mapping, interactive art revolving around touch, cinemagraphs, and scent.

@@ -765,7 +765,7 @@

Drawing from Alice Walker’s radical tenderness and Audre Lorde’s framing of self-care as political resistance, this project destigmatizes play, rest, and joy for people who may be in survival mode.

-

Built inside a mobile 40ft shipping container on wheels, HOME travels directly to working-class neighborhoods across the United States, the Black diaspora, and continental Africa, engaging with different artists in each community. Each experience has its own separate space and is linked to a story, creating an interconnected larger narrative—layers revealed like a Russian doll across different mediums.

+

HOME travels directly to working-class neighborhoods across the United States, the Black diaspora, and continental Africa, engaging with different artists in each community. Each experience has its own separate space and is linked to a story, creating an interconnected larger narrative—layers revealed like a Russian doll across different mediums.

Film