Undoubtedly, multimedia-based cultural learning tools have become commonplace
in the museums and classrooms. Therefore, what are some of the unique thrusts of the proposed project, in terms of the multimedia design and learning content?

Through a decade of work by Ranjit Makkuni, while at PARC in active learning, we have
been re-questioning the basic form of a computer-based tool, i.e. the hardware
forms of television screen, typewriter
keyboard and mouse, and the software
forms of 'windows' and button-pushing.
The computer media eliminates physical
space and Man's physicality in the act of communication. Because human transformation involves physical and symbolic movement, Banaras's spatial context of the river, spire - lined skyline, the steps to the river, demad
re-'presentation' in the proposed exhibit
Hence the exhibit will incorporate both
virtual access and spatial design.

Our past exhibits on Thangka pinting and on the the Gita-Govinda love poem have begun
to explore "embodied virtuality". In the Thangka exhibit, the display screens of Thangka imagery are embedded in a representation of a temple wall, and hence, the screens frmaed in the periphery of the
wall provides a field for the museum learner
to enter into the Thangka painting space. Similarly, mirroring the multiple levels of meaning and expression of the Gita-Govinda poem. The Gita-Govinda exhibit re-'presents' the learning spaces of the poem in three concentric rings. Much like the experience
of circumambulation of a traditional temple, the learner moves from the outer narrative level of the poem, to the middle interpretative level, and ultimately to the inner reflective level of the poem.

The Thangka and Gita-Govinda exhibits illustrate intital design attempts that correlate physical spaces with learning spaces. We wish to extend the methodology developed in these to represent Banaras's ghats, its didtinctive river-line and skyline.