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The World Between Worlds, also known as the Vergence Scatter, was a mystical plane within the Force that served as a collection of doors and pathways existing between time and space, linking all moments in time together.
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Loth-wolves, creatures native to Lothal, were intrinsically tied to the World Between Worlds and were capable of traveling through the realm in a similar manner to hyperspace travel. The Mortis gods painting served as the key to unveiling the entry way to the realm, through assistance from a key stone from the temple, by a Force-wielder, who was to place their hand on the Daughter's encircled hand.[2]
As a result, the Loth-wolves within the painting shifted away from the gods and moved in a circle together, which formed the portal to the realm. However, the portal to the World Between Worlds was closed if a Force-wielder placed their hand on the Son's encircled fist, which prompted the painting of the Father to conceal the entryway and the temple itself.[2]
After the discovery of the Jedi temple on Lothal, the power-hungry Sith Lord Darth Sidious, ruler of the Galactic Empire, deployed Minister Veris Hydan with the Imperial Military to the site in search of an entryway to the World Between Worlds in his lust for power.[2]
The Sith's designs were thwarted when the Jedi Padawan Ezra Bridger discovered the world's key, and was able to unlock and enter the World Between Worlds first. After saving Ahsoka Tano from the past by pulling her into the realm, Bridger became adamant in also changing the fate of his master, Kanan Jarrus. However, Tano reasoned with the Padawan that they would all be dead without Jarrus' selfless sacrifice, telling Bridger that she understood the pain of being unable to save one's master, citing her own experiences, and taught Ezra Bridger to let go.[2]
Turning away, the pair resolved to close the portal to the realm to prevent others from accessing it, only to encounter Darth Sidious, who tried to enter the realm using the Force users. Bridger and Tano, however, were able to return to their own times, with Bridger closing the portal and causing the Lothal temple to collapse, taking Hydan with it.[2] Having returned to her own spot in time, Tano ventured into the depths of the temple[4] and found another portal to the World Between Worlds.[5]
Around 9 ABY,[6] Tano once again found herself in the World Between Worlds following her duel with the fallen Jedi, Baylan Skoll, on the[7] planet[8] Seatos. There, she was reunited with her former master, Anakin Skywalker.[7] She remarked that he looked unchanged, to which he responded that she looked old and challenged her to a lightsaber duel, as part of a lesson to her about fighting to stay alive and facing her inner demons and guilt. Ahsoka held her own against him in the duel, but he sent her falling into a Clone Wars flashback where she relived the trauma of one of her first battles and questioned her role as a warrior. She then experienced a vision of the Siege of Mandalore, where Anakin remarked he wasn't at that battle. She responded that they had parted ways by now and that Anakin had become more powerful and dangerous than anyone realized. Offended, Anakin shifted into his Darth Vader persona and attacked Ahsoka. She disarmed him, retorting that she chose to live. Satisfied with her answer, Anakin disappeared and Ahsoka was transported back to the ocean of Seatos.[9]
The world between worlds was created for the Star Wars Rebels television series. It was identified in the season four episode "A World Between Worlds."[2] Rebels showrunner Dave Filoni had discussed the nature of the Force with Star Wars creator George Lucas before developing the World Between Worlds along with Henry Gilroy.[10] During the Star Wars Rebels Remembered panel at Celebration Chicago in April 2019, Filoni confirmed that the concept for the world between worlds had been inspired by the Wood between the Worlds in C.S. Lewis' The Chronicles of Narnia.[11] It was first identified as the "Vergence Scatter" in the 2019 reference book Star Wars: The Rise of Skywalker: The Visual Dictionary, written by Pablo Hidalgo.[3]
A so-called "place between places" first appeared, albeit unnamed, in the 2019 film Star Wars: Episode IX The Rise of Skywalker, the third and final installment of the Star Wars sequel trilogy.[13] It was first identified with a nickname "place between places" in Star Wars: The Rise of Skywalker: Expanded Edition, the 2020 novelization of the film. In the book, Rey believes "a perfect sky, vast with stars" above her head was like staring through a window somewhere else, which she called a "place between places." Despite their Force dyad connection, Rey felt like Ben Solo had "fallen out of existence itself."[14] The Lucasfilm Story Group's Matt Martin has stated that a "place between places" was not meant to be the World Between Worlds.[12] The Creative Art Manager at Lucasfilm, Phil Szostak, stated that no one in the production of The Rise of Skywalker has mentioned the World Between Worlds to him.[15] The World Between Worlds was mentioned in the accompanying reference book Star Wars: The Rise of Skywalker: The Visual Dictionary.[3]
One of the most engaging discussions I remember having with the class was around the potential risks of spending too much time in a virtual reality world and what that could mean for individuals and society as a whole. It was difficult to imagine becoming so absorbed into that kind of world when the technology was expensive, bulky, and inaccessible, and the graphics were so limited. Perhaps my thinking back then lacked the same context as the technology did. Years later, Charlie Brooker would explore these themes in Black Mirror episodes like USS Callister and bring the debate to light in a much more tangible and vivid way.
In this virtually digital reality, the traditional boundaries that once separated the tangible from the intangible have evaporated without the need for VR hardware. Our experiences, emotions, and memories are not only lived in the physical world but are also intricately intertwined with the cloud.
Social media, messaging apps, and online portals are now the mechanisms through which we manage our daily lives; sharing, connecting, and engaging with others in ways which just a couple of decades ago were hard to imagine. So much of our lives are lived online. From ordering food to booking and paying for a taxi. From arranging a mortgage to paying a pound for mufti day at school.
Over the past couple of decades, the drive to digitise and transform everything has resulted in too much bad design, focused on self-service and the needs of business rather than the needs of end users, coupled with a lack of consideration for the wider ecosystems in which those products and services exist and which connect to form the lived experience of our worlds.
Dawn DeDeaux: The Space Between Worlds is the first comprehensive museum exhibition for the pioneering multimedia artist Dawn DeDeaux. Since the 1970s, DeDeaux's practice has spanned video, performance, photography, and installation to create art that exists at the edge of the Anthropocene. Anticipating a future imperiled by the runaway population growth, breakneck industrial development, and the looming threat of climate change, DeDeaux has long worked between worlds of the present and the future.
Dawn DeDeaux: The Space Between Worlds is organized by the New Orleans Museum of Art and is sponsored by Mr. and Mrs. Sydney Besthoff; Ralph and Susan Brennan; Dr. and Mrs. Byron Crawford; Catherine Burns Tremaine; Sarah and Harvey Wier, in memory of Nan Wier; David B. Workman; and The Robert E. Zetzmann Family Foundation. Additional support is provided by Tina Freeman and Philip Woollam; The Arthur Roger Fund for NOMA; John C. Abajian and Scott R. Simmons; Mr. and Mrs. Charles B. Davis; Melissa and John D. Gray; Renee and Stewart Peck; Hugh and Beth Lambert; Yorke Lawson; Robyn and Andrew Schwarz; Shaun and Foster Duncan; Charles L. Whited; and Friends of Bill Bertrand, in honor of his retirement. Special thanks to collaborators Transart Foundation for Art and Anthropology, John Fischbach, Misha Kachkachishvili and Esplanade Recording Studio, and Pedro Segundo.
On view at the New Orleans Museum of Art from October 22, 2021 through January 23, 2022, Dawn DeDeaux: The Space Between Worlds is the first comprehensive museum exhibition for the pioneering multimedia artist Dawn DeDeaux. Read More
Artist Dawn DeDeaux joins Brooklyn Rail Editor-at-Large Dan Cameron and artist and arts administrator Joseph S. Lewis III for a virtual conversation over Zoom. The program concludes with a poetry reading by Cliff Fyman. Read More
Dawn DeDeaux is a New Orleans-based artist and spring/summer 2021 artist-in-residence at the Joan Mitchell Center. This interview was filmed at the Joan Mitchell Center in New Orleans in May 2021, in advance of the opening of Dawn DeDeaux: The Space Between Worlds. Read More
NOMA is committed to preserving, interpreting, and enriching its collections and renowned sculpture garden; offering innovative experiences for learning and interpretation; and uniting, inspiring, and engaging diverse communities and cultures.
Communication is a fundamental human activity, and as much as 90% of all communication is non-verbal. Yet awareness of embodied intelligence in communication is rare. This book is the fourth in a series by interdisciplinary educator Andrea Olsen focused on embodiment. Through the exercises and readings in this book, we can deepen our relationship to ourselves and others and improve our communication skills, moving between worlds: inner and outer; self and other; self and Earth. Each of the thirty-one chapters combines factual information, personal anecdotes, and somatic excursions, inviting the reader to explore multiple learning styles and lenses for finding balance in a more-than-human world. This guidebook is a valuable resource for anyone seeking practical tools for living and communicating with more ease and clarity. 152ee80cbc
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