![]() The three screens in the chambers were twelve feet by eighteen feet by nineteen feet, the closest distance of viewers to the screens being twelve feet and the furthest distance thirty-two feet. From this “world of the fantastic,” as Markson described it, spectators moved toward a huge sphere extending above and below them. In the cube-like Theatre 3, mirrors on all surfaces (except where the projection originated from) produced an infinity effect in all directions. The images transitioned to a “world of technology,” where industrial scenes included molten metal with sparks, flashing red, blue, and green squares, and amplified prism-like grids of colour. ![]() The projected images of nature included twinkling stars, water and waves, a girl running through an orchard, flowers, birds, and balloonaIn the diamond-shaped Theatre 2, mirrors on the floor, ceiling, and rear wall (through which the image was projected) created an infinity effect in depth and height, a seeming tower of light. ![]() In Theatre 1, reflections created a limitless horizon through mirrors on the left, right, and end walls. ![]() One chamber at the top of a ramp served as audience entrance and exit viewers then moved through three different-shaped theatres that projected the three-part, twelve-minute film Man and Colour, transitioning from figurative images to pure, abstract colour. As Donald Theall has described it, four chambers protruded from a central core (housing the projection room). In the interior, Markson created a psychedelic, abstract sound-and-image play over mirrored surfaces, using sculpted light, film, and slide projections. The pavilion exterior was designed as a cylindrical carousel of 112 vertical fins making up a three-dimensional colour wheel. As they interact and reflect and learn together, each bringing the gift of their unique perspective, they form their own kaleidoscope of diaconal learning.Sponsored by six Canadian chemical companies and conceived with the theme of “colour,” Kaleidoscope was created by the University of Waterloo’s Institute of Design and the Toronto industrial design firm of Morley Markson and Associates. As part of an introduction activity, students sent in a picture of themselves. Some students have been journeying together for years and some are new to the learning community. Earlier this month, students gathered online to kick off the school year. This year Jamie begins/continues her learning journey as a part of the CCS Diaconal Ministries program. Symbols of faith shift and changeĬCS students use their creativity to thoughtfully reflect on the world and on faith. However, she also recalls the words of Kay Heuer: “Education is a process of raising up questions, of seeking meaning, of pushing for change… Education, then, naturally leads into the ministry of advocacy.”Īs Jamie was trying to decide which category advocacy falls in, Pastoral Care or Service or Education, it became clear that the three are tightly bound and the structure of Diaconal Ministry cannot happen without all three. “‘Ministry of education’ makes me think of Christian Education: youth ministry, Sunday school development, book and bible studies,” Jamie says. Jamie reflects on the diaconal call to ministries of education, service and pastoral care. “From sermons demeaning the work of Deacons, to the United Church of Canada disjoining Deaconesses if they chose to marry, or waiting until the 1980s to recognize Diaconal Ministry as a type of ordered ministry that was open to all people, to the restrictions placed on Diaconal Ministers b y some Regional Councils, the struggles for this stream of ministry seem to be long-seeded and ongoing.” ![]() “The history of Diaconal Ministry hasn’t been without its struggles,” Jamie says. It leaves the impression of being slightly unfinished, like the ongoing process of learning, or what Jamie calls “Jesus work”. She covered the outside of the tube with recycled or found items – torn, a bit rough around the edges. ![]()
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