The LOST

The History of Labyrinths

The labyrinth is one of the oldest narrative and architectural metaphors for uncertainty, choice, and entrapment. This chapter explores the mythological origins of the labyrinth (from Daedalus and the Minotaur to medieval mazes) and considers its role in literature and performance. It acts as an underlying foundation for Wayfinder, connecting physical, literary, and psychological labyrinths as methods of storytelling.

Multicursal.

Which way will you go?

The Lost /
The Dead

Regarding Definitions

A short film on the freedom of youth and the consequences of that raw energy. Where do your feet lead you, and are you in control of them? 

Dance

Footnotes & References

  • Core Theoretical Foundations:

    1. Penelope Reed Doob – The Idea of the Labyrinth from Classical Antiquity through the Middle Ages (1990) – Examines labyrinths as narrative structures.

    2. Jorge Luis Borges – Labyrinths (1962) – Explores labyrinthine storytelling as a philosophical concept.

    3. Mark Z. Danielewski – House of Leaves (2000) – Uses the physical space of the book as a literal maze.

  • Critical Debates and Counterarguments:

    1. Aristotle – Poetics – Advocates for linear, structured storytelling over excessive ambiguity.

    2. Roland Barthes – S/Z (1970) – Suggests that labyrinthine reading is only effective when the reader can eventually find closure.

    3. John Fowles – The Magus (1965) – Uses illusionary labyrinths to disorient the protagonist but critiques their lack of resolution.

  • Empirical Studies & Case Studies:

    1. The Shining (1980) – Uses the hedge maze as a psychological metaphor for entrapment.

    2. Dark Souls (2011) – Non-linear game design forces players to mentally construct the narrative maze.

    3. Punchdrunk’s Sleep No More – A physical theatre maze where audiences navigate their own fragmented experience.