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The structure of the piece is based upon an accumulation of task cycles that repeat at different rhythms and can therefore be understood as a complex minimalist theatre composition. The audience is free to enter and leave the space as they wish; sit or stand where they like.
The duration of the performance is not fixed, but it typically runs at approximately sixty minutes.
Fresco of Approving of bylaw of Society of Jesus depicting Ignatius of Loyola receiving papal bull Regimini militantis Ecclesiae from Pope Paul 3. This group bound themselves by a vow of poverty and chastity, to "enter upon hospital and missionary work in Jerusalem, or to go without questioning wherever the pope might direct". They called themselves the Company of Jesus, and also Amigos En El Senor or "Friends in the Lord," because they felt "they were placed together by Christ." The name had echoes of the military (as in an infantry "company"), as well as of discipleship (the "companions" of Jesus).
The Shri Yantra Mantra or Mandala is constructed with an intersection of nine triangles of which five triangles are pointing upward and four downward. The Shri Yantra Mandala is also known as Wheel of Fortune, the symbol of wealth & prosperity. As its title suggests, it takes time-cycles as a point of departure, for the performance consists of a series of tasks to be completed within a complex musical structure provided by ten tape recorders playing specific and individual sounds that cue each of the ten specific tasks. The diagram below (indicative not prescriptive) offers an illustration of how the structure of the piece determines the development of the performance.
This is progressively punctuated by singular activities that slowly build in frequency and begin to overlap until action becomes constant and frenetic.
It demands an increasingly greater degree of improvisation as the accumulation of tasks reaches breaking point. The range of responses, prompted by the nature of the tasks, enables a breadth of reflection. They are brought into the frame of the performance by being asked to assist in subtle ways such as holding the objects needed for the performance when they are not in use, or holding one of the ten portable tape recorders (one for each action) that cue the tasks. Ignatius of Loyola, who after being wounded in a battle, experienced a religious conversion and composed the Spiritual Exercises to closely follow Christ.
The fresco was created by Johann Christoph Handke in the Church of Our Lady Of the Snow in Olomouc after 1743.

It is also known as the Yantra of the Cosmos, the Yantra of Creation and the Yantra of the Universal Goddess. A combination of these nine triangles makes the Shri Yantra Mandala the most dynamic of all yantras.
The performance sets up a number of continua that it negotiates its way along; order and chaos, representation and presentation, activity and inactivity, success and failure.
At points there can be as many as ten tasks to perform simultaneously, too many to possibly complete precisely, leading to inevitable breakdown and failure.
The relationship between order and chaos is therefore a central feature of this piece that has on first appearance the look of a highly clinical performance yet one that develops to produce both highly structured chaos and a response to that chaos. What is therefore focussed upon is how the various tasks mean, that is to say how they combine with one another to generate meaning.
These responses are not acted in the sense that an emotional state that is not already present is supplanted upon the performance or that emotional responses are inflated and made theatrical. The relationship between audience and performer is typically unforced, intimate and supportive. Outside of London it has been seen at the Burton Taylor Studio, Oxford and at the MAP LIVE festival of international Live Art at Matrix Art Projects, Carlisle.
As the five upward-pointing and four downward-pointing triangles are intersecting and overlapping one another, they produce a total of forty-three visible triangles.
It is known as the Sarva Rakshakar Chakra – a chakra that provides all kinds of protection.
It is known as Sarva Artha Sadhak Chakra – a chakra that helps to achieve all kinds of realization. It is known as Sarva Ashapuraka Chakra, the chakra of fulfilling all hopes, of materializing all kinds of expectations. It is known as Traiuelok Mohan Chakra, the chakra that attracts the three lokas (planes): physical, astral and celestial. It never settles in one position but instead remains in kaleidoscopic motion, combining and re-combining its constituent elements. The tasks are therefore highly varied in nature so that they can support, contradict, ignore and reference (formally, obliquely, through parody) one another and the structure of the piece as a whole.

Genuine responses in the moment of performance are used to enable a self-conscious meditation upon these states that is performed by shifting distance and complicity with the audience. Often, a person holding one of the tape players that begins to sound will provide a reminder that a task needs to be performed. The sound is self-contained within the ten battery operated tape players, which provide a quite ample volume for most spaces and produce a very specific sound texture. The tricon is presumed to be the primordial prakriti with three states of consciousness: waking state, dream state and deep sleep state.
Eight siddhis (powers) are present in this chakra: Anima (atomicity), Laghima (lightness), Mahima (might), Ishatava (power over others), Vashitva (attraction of others), Prapti (attainment), Prakamya (ability to assume a desired form) and Bhukti (enjoyment of power). In tone, it has been aptly described as minimalist vaudeville, for from an austere structure it presents an absurd but all too recognisable picture of life that well mirrors the frantic multi-tasking lifestyles many of us lead.
The tasks are precise actions, such as making a salad, telling the story of Noaha€™s Arc, reading from a dictionary, performing choreographed walks or falls, weather forecasting or washing hair. Some of the tasks are easily fulfilled whilst others are highly demanding and in their chaotic combination with others undermine and interfere with other tasks. Some of the actions slowly transform the space through their repetition and others are transitory, surviving in memory and expectation.
The highly distinctive aleatory sound score and task frame provide the structure that holds this range of conflicting elements together. The repetitive but unstable score allows the tasks to combine and recombine with others, continually shifting their context and moment to moment meaning. This provides a frame that allows the audience to easily accept a non-hierarchical, non-narrative performance by generating expectation, purpose and a sense of resolution.

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