| Theme | Manifestation in Jaxslayher | Manifestation in Yasmina Khan | Manifestation in “Bengali Goddess 02” | |-------|----------------------------|-------------------------------|---------------------------------------| | | Durga as a cyber‑warrior confronting data‑colonialism | Lakshmi’s non‑binary avatar challenges patriarchal norms | Goddess fights corporate exploitation | | Ecology & Stewardship | Visual motifs of mangrove roots in background art | Manasa’s narrative ties to rising sea levels | River‑goddess visuals paired with climate‑data graphics | | Diasporic Identity | AR filters allowing global users to “wear” Bengali symbols | Bilingual storytelling reflecting hybrid belonging | Subtitles in multiple languages broaden accessibility | | Collective Creation | Discord‑based worldbuilding | Reader‑submitted epilogue chapters | Fan‑made remix videos proliferate on TikTok | | Technological Mediation | Glitch aesthetics, NFT collectibles of goddess avatars | Plot devices involving AI‑guided mythic archives | Electronic music remixes of devotional chants |
| Name | Role | Background | |------|------|------------| | | Director, Visual Designer, Producer | A Berlin‑based collective known for kinetic video collages, glitch‑aesthetic editing, and cross‑cultural collaborations. Their previous work includes the “Silk Road 01” series, which paired Central Asian folk instruments with synth‑driven beats. | | Yasmina Khan | Vocalist, Lyricist, Cultural Consultant | Born in Kolkata to a Bengali mother and a Pakistani‑British father, Yasmina blends Rabindra Sangeet, Sufi poetry, and modern R&B. She has released two solo EPs (“Madhur” and “Echoes of the Ganges”) and is a frequent collaborator in the world‑fusion scene. | | Rohit Das | Traditional Instrumentalist | Plays dotara , bansuri and khomok (a rare Bengali percussive instrument). His involvement roots the project in authentic folk textures. | | Mira Liu | Motion‑Graphics Artist | Provides the animated “goddess” motifs that appear throughout the visual narrative. |
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The 02‑link practice mirrors traditional pūjā structures: an (anchor post), offering (mythic extension), and distribution (commercial node). This ritualized navigation of digital space suggests a re‑materialisation of religious praxis in algorithmic environments.
