from A to B

While in our actual world we identify architecture with elements related by permanent relations, in virtual worlds space is a constant function of time. For example, if I have to ascend a stair to get from A to B, I will not necessarily have to descend to get back from B to A. Virtual spaces can hold many surprises.

1997, Daniela Bertol, David Foell, “A Few Hypotheses for Reconstructed Architecture”, in Designing Digital Space: An Architect’s Guide to Virtual Reality, New York, N.Y.; Chichester, West Sussex: John Wiley & Sons, →ISBN, page 303

At Leap we have found that, when working with a large group, it is not appropriate to create a traditional play with a story that follows one central character from A to B. Instead, we create a piece of theatre that can employ a large cast, follow several characters' stories in parallel and draw on several styles, especially popular forms.

1999, Sara Clifford, Anna Herrmann, “Unit Three: Devising the Show”, in Making a Leap – Theatre of Empowerment: A Practical Handbook of Drama and Theatre Work with Young People, London; Philadelphia, Pa.: Jessica Kingsley Publishers, →ISBN, page 133

It is a journey travelled both by individuals and by societies made up of those individuals. It is not, however, a simple journey, a progression from A to B, starting with the soul and ending at the self.

1999, M. James C. Crabbe, “Preface”, in M. James C. Crabbe, editor, From Soul to Self, London; New York, N.Y.: Routledge, →ISBN, page x

The zombie scenes are reminiscent of what you might see on a show like The Walking Dead, short bursts of extreme violence and gore punctuating expository dialogue scenes where the survivors try to figure out how they’re going to get from point A to point B.

[2017 February 23, Katie Rife, “The Girl With All The Gifts tries to put a fresh spin on overripe zombie clichés”, in The A.V. Club, archived from the original on 10 Sep 2017