Author Archives: Nicholas Zembashi

TELESCAPE – Final Tables

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Jury Q&A anticipation

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Potential Questions and Answers:

Q: No clear Proposal?

A: A manifesto in favour of the screen as a site/landscape – part of the argument in the project is advocating media as an aesthetic of pleasure, spectacle and distorted time not a source for facts but for narratively packaged truth, enjoyed as stories.

Q: Conceptual space/design Telescape?

A: Granting the screen a body and discussing the issue of surface and flattening of the mode of representing place and events-happening – architecture having been the built container of worlds and what of it when the apparatus is the screen.

Q: Why?

A: An increasing distance between our inside and our outside, a disparity that changes our perception of events – from Greek root of tele- meaning from a distance, we are beyond merely tele-vision but we tele-everything including event construction and spatial understanding of the world.

-An annoyance with the attitude towards fake news, media lying, conspiracies, post-truth etc. whereby I wanted to discuss the architectural/spatial role of surface in turning any curated media (from traditional ornaments in the past to digital texture today) into a cult of tele-spectacle where fact doesn’t matter over story-telling.

Q: Role as an architect?

A: The curator and designer of spectacle – my take on the Diamond Age as a brief is to look at footage as the material substance of our age – the site is the screen and their common spatial denominator: surface. Curator, editor – story-teller – time compressor/exploder.

Q: Time?

A: The explosion of it –exploitation of every singular moment to be stretched and expanded in the media – everything becomes spectacle – therefore is everything also beautiful or subject to aesthetic scrutiny like never before?

The image collapsing scale was what the Eames most successfully demonstrate in the powers of 10 – More currently it is TIME we are extrapolating to the powers of 10.

What is our role other than condensing in reverse through omission and curation our work at juries at the final table or at exhibition – every year at the AA tutors repeatedly in my experience I hear saying how horrendous we are at displaying our own work – because we go for maximum spectacle and no other means of representing the work itself in its depth but on its surface – visuals above content is the casualty of our discourse perhaps and the Telescape doesn’t necessary look at this negatively but celebrates it as the creed of our times and of the future.

Q: Why the Baroque ornament?

A: The fold inside/outside disparity – the theatricality conceptually works; the ornament as a frame to screens screaming for attention – Vatican of Screens – a celebration of the screen – the screen is put dead centre of the frame we venerate it.

Also early on in the year part of my writing and research delved into notions of the neo-baroque and looking into the construction of facts in Latourean terms as well as his argument of us never having been modern – and I particularly like the opening to the book itself where its very much like my scroll-edit transition where he introduces the crux of his argument by describing the headlines in a news article he’d been reading and how they sit amongst each other on the cover page not only in visual disparity but also content.

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Nested Spaces

Below the two spaces we go through as part of the ‘nested-spaces’ sequence, ‘This Killed That’ Cathedral  and The Newsroom, rendered out as 10 second clips each. More to come along with the film edits we discussed last time as well.

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Telescape @ Final Jury!!!

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Narration Draft

 
 
On the screen in sequence sentences appear:
 
This Is A True Story.
The events depicted in this film took place on the surface of a screen.
At the request of the survivors the names have been changed.
Out of respect for the dead the rest has been told exactly as it occurred. 
 
20th century fox search lights, the roaring Lion of Metro Goldwyn Myer …the BBC, ERT, InfoWars, SKY, ITV, CNN etc. appear on screens all over  – these are universally (or at least on national levels) collectively read as INTRO footage – the intro to any STORY – the news supposedly serving up the FACT and the production companies constructing a FICTIONS – recognisable themes from these intros echoe in the seemingly infinite telescape. 

ACT I: Exploding Time

Are We Shooting? – Cameras from Jackie next to Three Kings (quote from Jackie)
CNN news report appears alongside a report from Live from Baghdad – Bush the younger next to him (either with us or the terrorists), Obama on drones, trump, Clinton, Hillary, Blare etc … appear gradually as tiles – some are SNL satire clips. 

 

News coverage explodes events, making each recorded flake an avalanche – The First Gulf War lasted 800 hours – it generated over 20 000 hours of footage. What, when and where no longer adhere to a conventional perception of place.

As information in the form of imagery is constructed with exponentially increasing velocity, variety and volume, place becomes elusive –  time is exploded. Is war happening? Is climate denial legitimate? Do facts or fictions even matter when both are as constructed as each other?

It boils down to belief – detached from fact and addicted to narrative delivery.

The incubator Story! – Testimony – War, Film, Debunking – evian babies 
WMDs! Trump Lies!
Truthiness Colbert –  Info Wars – Talk shows
From footage into the news room

 

Truth has always been highly overrated – representation and reproduction inherently taint –The Story prevails – footage becomes nourishment for the eye; innumerable fragments of the world woven into digestible stories – The screen is their narrative yarn, weaving the polymyths into a monomyth and served up as news.

 

ACT II: Events as Spectacle / Phantasmagoria

What chewing gum is for the mouth, are buildings for the body, and footage for the eye – always received in a state of distraction. The ceaseless stream of visual data becomes an aesthetic overlay (insert data how much we produce a day/year)  –  at least 3 years of a any 20 year-old’s life will have been spent staring at a screen – for leisure time alone

the goal, the tennis ball, the Arab spring, anchor man
Book: War is beautiful! – Pieta versions of grief
War is Everywhere (edit to mix and make it less about War)
 
The stadium Billboards

The aesthetic of media is a dichotomy – a phantasmagoria versus the tedium of the hyper-normalised – the Spectacular is Beautiful the Boring is Ugly. The masses at spectator sports, concerts or revolutions are always staring at and through the screen – reality craving cinematic steroids.

Attention-management is no longer the advertiser’s realm (evian bottle and babies) but everyone’s – humanity has become the curator of it’s own appearance it’s past, present and future – All is surface – the very reading of life: a scroll of headline feeds. How fast and for how long can you look.

 Time – time metrics, analysis – SPEED- HEADLINE WORLD – Stream – SCROOOOOLL

The screen grants a mydas touch (phone and thumb) turning world into an image of sheer and utter spectacle.

…..

Nesting of Spaces – flattening of the Aedicula

Out of the scroll over the desert

A war took place somewhere

The news room

Once upon a time something happened; brought to you live

The Church

 ‘This will kill that” said Frollo to Quasimodo as he realises how the printing press would kill the cathedral (echoes as we move through the church – bells of Notre Dame in the background)

Netflix Living Room

Screens  watched within screens – spaces become nested – The screen has done away with volume – the world is pure surface. All else is boring.

SPEED-THROUGH SPACES: 

Inside and Outside collapse into the glassy plane, an undulating fold between exterior and interior. – we never touch, taste, smell the events on either side –  we only see surface – and always from a distance.

ACT III: The Telescape – World of Surface 

Ocular tele-hedonism at it’s utmost – We tele-battle, tele-learn, tele-travel, tele-fuck – the Telescape is becoming the only site – If architecture has been a representational interface, the Telescape becomes the absolute inter-space  – be it a screen, virtual image or all-out augmentation, surface is the new creed; all else is a prop for displaying a polyhedral world without a z-axis.

Never has the world been seen in slower-motion, in more scrutinising detail, in higher definition – more space, more time more and more and more and more … It is oversaturated, eye-watering, honey-dripping beauty. Why would you ever want to leave?

 The world is not your oyster – the Telescape is the oyster of your world.

TELESCAPE
FACTory of the World
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End Scene

Some frames from the clip towards the end of the film as we (think) we pull out of the superstructure into the city reflected on it’s exterior …

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Intro Scene – Enter Telescape

Here are some stills from the intro scene I am currently rendering out:

We enter a screen in the Lecture Hall …TIFF0244

20th century fox search lights, the roaring Lion of Metro Goldwyn Myer …the BBC, ERT, InfoWars, SKY, ITV, CNN etc. appear on screens all over  – these are universally (or at least on national levels) collectively read as INTRO footage – the intro to any STORY – the news supposedly serving up the FACT and the production companies constructing a FICTIONS – recognisable themes from these intros echoe in the seemingly infinite telescape.

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We keep moving forwards deeper into the space while the camera subtly starts rising. Are we ever going to get out of the space? Is that a hole up right?

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Oh it might be a way out? A dark opening in space …

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First Screen Transition DONE

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Screens are Go!

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ScreensON + Infinity

Render time by adding footage, even if only in the screens that are in view, has skyrocketed as expected… I’m trying to solve the issue. in the meantime here’s a still of a clip with the screens active and the footage selected to make associations as we pan over it.TELESCAPE_03_Pieta2017-05-17 (5)Below is the model for the intro to the film with the camera panning over the seemingly infinite telescape – the footage I thought here could be of news channel opening titles, and of movie production company opening logos as we pan over and enter the media room for the war/post-truth Polyhedral Reality sequence.TELESCAPE_04_Infinity TELESCAPE_05_Infinity 2017-05-17

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Telescape Transition

A refined transition render for a specific part of the film. Clips to be inserted to replace static. I have drawn up an almsot compelte narrative sequence for what is to be shown and what renders I’ll need for each part of the film. We can discuss the sequence in detail tomorrow.

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Narrative Sequence – Camera Fly-over in Filmic Space:Film_Section

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Render Tests

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Have been conducting some render tests on the Vatican-of-Screens model – Testing fluid dynamics and (unsuccessfully for now) tried to map a film onto the fluid. In the second clip the screens are placed between the ornaments and given footage as we pan out and over the surfaces.

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Telescape – A FACTory of Surfaces

Working on the models for the scenes I’ve metioned yesterday.

Some points on yesterday:

  • - I particularly liked the idea that the FACTory is granting the Screen a body : The Telescape is the screen given a body by surface.
  • - The galleries (the Wallace Colelction and Saatchi exhibit I plan to frame within my telescape surfaces as an introdicution to the film)
  • - MORE footage MORE clips appearing for shorter times – exploit the viewers positon as the one making asscoiation but keeping it short enough – 5 secs max each clip – to pevrent each micro narrative from taking over (thanks Nathan!)
  • - Finally, the “Screen Vatican” to be way MORE COW BELL – explode it out of a room, bigger crowds and surface as an increasingly dominant medium in the urban context.

Telescape_01_FINAL FINAL

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Telescape – The Room + Story WIP

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above more of an atmospheric render test from cinema4d

ACT I: A condensed version of what I read as an intro in studio where we are moving from spaces inside the screen to set up the argument [exhibit, billboards and the War 20 000 hrs / 800hrs]

Screen_Test_12

 

Part Narration / part screenplay description:

ACT II:

The Built envirnment is all Surface we zoom out to see the whole telescape (part of the image above but with activated screens)

The future of the architect is curator of the world – master story-teller.

In a hyper-mediated world public spaces are taken over by vast structures – Telescapes – An infrastructural framework that has no purpose other than powering architecture’s ultimate medium – surface.

The recorded world and it’s image fall-out are the material of the Information age feeding the surfaces of the Telescape. Space on either side of the gargantuan surfaces is irrelevant – a mere plinth for bodily existence to flow past – the surface is our only aesthetic nourishment – these aesthetics however defy every design convention in an age where time and scale are useless. The only rules are: the spectacle = beauty, the boring = ugly. From wars to cat videos, fact or fiction, the appeal of the visual content only matters in it’s delivery and it’s apparatus of display – the surface.

The volumes of the city lie in tedium – stacks of un-editable space, vessels of the population whose gaze is always beguiled by the Telescape.  

ACT III:

Fluid Surface – conclusion reinforcing the argument

The spectators stare at the Telescape’s surfaces, twinkling stars of light glow amidst the gilded ornaments framing the spectacles. Clusters of people gather closer to where their reflections occupy a display. Few are physically there, awe-struck by the shear scale of it all– others experience it from home – they watch the surfaces from another surface. (the neflix living room expirience)

A girl walks up to the surface and reaches out, her hand suspended in space seemingly too far to actually reach the display – until the very air separating them ripples.

Skin, eyes, fabric, are slowly consumed by liquefied media – when the surface transcends the screen into an overly for just about every from.

Architecture no longer deals with volume – the outside is always shown on the inside and vice versa – The Telescape is fluid covering everything – interior is exterior is interior – all hail surface!

Screens_Test_02

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Sharpening the Argument

WHAT // Surface World

WHY // The FACTory of memory/history in Telescapes – The eradication of space by surface

HOW // A film on the architecture of a surface universe

We are far beyond other mediums usurping architecture as the prime conveyor of information. Architectural form as a representation of memory has radically shifted. What we are moving towards is the flattening of space altogether.

We constantly curate and perceive our world on screens. Six and a half hours per day is the average screen-time of 5 to 16 year olds (3 whole years by the time one is 20) – tv, game consoles, mobiles, computers or tablets. The atlases of the world.

The spectacular nature of media is a condition that turns the images (be it of distant war, of a Trump/a Putin/or Kardashian) into an aesthetic overlay – a spectacle that we receive in state of distraction – how Walter Benjamin referred to the state in which the masses perceive architecture. Or how Frank Lloyd Wright described the television as chewing gum for the eyes.

The discussion surrounding the Telescape is not to fetishize technology, to be technophobic or to consider devices as visual gimmicks within architectural discourse. It is about the SITE of surface itself becoming an increasingly dominant place via which our perception of the world is conducted and where memory and knowledge are formulated today.

The factual origins of stories become irrelevant in the screen. The relativistic argument that often fascinates and drives conceptual projects on what is real or not is done. It was the matrix, it was the 90s. Today the exercise is one of omitting visual information and condensing the fragments into a curated narrative of surfaces.

The aesthetic nature of fact-creation in the Telescape relates back to a scene in Victor Hugo’s  Hunchback of Notre Dame, where Frolo realises how ‘This will kill that” when he refers to the printing press killing the cathedral, as a mnemonic device. If we parallel this to the Telescape it is a case of surface killing volume –  a world minus the z-axis.

…………………………..

I’m working on the film narrative structure and storyboard, the issue I am considering is how my rendition of a surface universe is to avoid my argument falling into something akin to the gimmicky add by LG below.

The future of Screens – 2020 Olympics in 8K

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Surface Treatment

test_13test_9 test_11I have been working on the surfaces of the larger telescape iteriors to express the formal/material argument of surface before I overlay the screens and the narratives they will display.

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For tomorrow we can discuss the progress on the model together with the new script I’m writing for the next version of the film [to post later]

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Some references to start bringing into the wider argument of fact/fiction, surface and nested screens:

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The bizarre world of Netflix VR and the nesting of virtual screens within screens.

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They Live (1988) which I mentioned before where the main character can ‘read’ the truth behind the media/advertisements we are exposed to – clip below:

 

 

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Telescapes under constrcution

HOLA Lil’ Seb photobombing my clip!2017-04-22

Back to the telescape, by constructing the new urban-scaled “room” that is all about surfaces. These surfaces (to be a series of 10? variations that we will travel across as the space and the film it is displaying merge as the film itslef progresses)

The design of this surface and the way we view the contents it displays will tie into the next iteration of the film, taking on the feedback from previews.

These surfaces both as ornamental props merged with screens are part of the story as well as the story itself.

Currently working on the room itslef. A new narrative I am piecing together will be less about a specific topic (oil, war etc.) but interweaving several as “News topics” to set up the argument about media as aesthetic texture in a world of pure surface where facts and fictions sit alongside each other in a constructed ocean of ever growing information.

 

Telescapes Under Construction:

telescape-structure

Scan  Telescape_Under Construction

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Create • Resist • Reveal

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From Container to Surface

 

Once upon a time we used to be entitled to our own stories but never our own facts – In truth we have always been entitled to both – facts are just as constructed as fictions
 
We construct worlds to tell stories. Architecture acts as the medium for staging events as well as a spatial mnemonic atlas. This is manifest in the latin word aedicule, referring to a small building particularly a temple or shrine framing an event.

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From Container to Surface – The flattening of Architecture

The building as an interior of the world is ever more prominent in the glass modules of the crystal palaces; crystalline prisms that commodify everything on display – form the most banal to the most spectacular products of industry –  into consumable spectacle. The newsstand – appropriately edicola in in contemporary Italian – acts as a media shrine with it’s own atlas of global information adorning it’s surfaces. With the advent of photography and film of course we have the flattening of the theatre stage. The event becomes a surface.
 
In the continual reduction of container to surface spectacle becomes domestic. The collective experience of the moon landing finds the president and the oval office superimposed over the celestial object. Finally the interface now allows anyone to be spectator as well as actor and the surface world can be superimposed over everything and at any moment.
 
Hence, with the screen as a site, the architecture of an event uses footage as a design material.
 
 
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The Telescape

The TELESCAPE becomes a new landscape of Architectural flattening – An inter spatial region where an event is constructed from a distance – the site of contemporary memory and knowledge, fact and fiction.
 
“This killed That” The printing press killed the Cathedral, says Frollo in the Hunchback of Notre Dame. What has the screen done? Or what are the architectures of a purely surface world?  
 
Banal objects become as spectacular as everything else – the telescope eradicates scale, explodes time, footage is in excess and association or editing becomes the story-teller’s apparatus. Surface visually articulates narratives by aesthetic association – scale and time are lost in flatness and content becomes wholly governed by its context.
 
Essentially if recordings of the recording and re-contextualising of stories is only ever experienced as a surface the world becomes akin to a multifaceted diamond that you can never enter; An architecture with only and outside. Or perhaps where the inside and the outside have become indistinguishable.
 
How can the experience of a room be flattened? What is the best way to articulate the condition of surface?
 

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The Oil Age

If the material of our age is petrolium then how could it’s use as a subject not only criticise a superficial world built on a finite resource but also discuss the nature of an absolute surface world today in architecture?
 

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Oily Domesticity

The banal narratives of oil. The domestic reality of petrochemical dependency will be minced into the war narrative as the new iteration of the film.

The long section is an idea for a series of such images that we will be ‘scrolling’ over in the film alongside other footage. Here we have the evian freighter delivering globally.

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The new approach

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Intro Room

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Fluid Tests

 

 

I am currently working on a ‘trailer’ for the next film, situated in the first room of my storyboard, before entering the screen surface. Meanwhile I have been playing around with a fluid simulation program.

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New True Story – Script

FACTory

acta est petrolium, plaudite!
 (oil is over, applaud!)
 
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Brief: Project Summary

The world as we know it both conceptually and literally is reduced to an aesthetic surface, recorded in the form of footage (factual and fictional)  and flattened as image on screen. These are the apparatuses.

The common denominator of the world is a single material defining our age, driving our collective global narrative – always prevalent beneath every surface, powering all physical and digital progress; but never in direct sight. Everything dependents on this elusive force, its extraction, its consumption, and its reshaping of all human experience on every scale.

Horrifyingly beautiful, here our story begins. The age of progress, of gleaming surfaces, of an interconnected humanity utterly dependant on a material seldom seen but always there. It’s story has been interweaving an entire planet’s collective narrative for the past 200 years. Our media build facts and fictions around its consequences never straying beyond the surface of what is reported. The illusion of objectivity. It is everywhere and it is running out.

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Narration & Storyboard Script

“I had a dream, which was not all a dream.
The bright sun was extinguish’d, and the stars 
Did wander darkling in the eternal space, 
Rayless, and pathless, and the icy earth 
Swung blind and blackening in the moonless air; 
Morn came and went—and came, and brought no day, 
And men forgot their passions in the dread 
Of this their desolation;”
 

Introduction – The Surface of the World – Perspective:

Darkness. A slither of light appears. The doors slowly creak open. As we move closer the light grows from a line to the dim interior of a room. An ominous object hovers over a marble plinth – a glowing puddle suspended in mid-air. Upon our approach the flat surface reveals itself to be a portal looking unto the rolling surface of the globe.

Into the puddle we descend beyond the glassy plane of the screen we land on the globe, thrusting forward, gliding over sandy dunes until the ascent over one of them reveals a vast landscape – pillars of thick black smoke stretching as far as the horizon, holding up an even darker surface; a veil over the sky.

As we shift our view the landscape slides away and we move from one surface to another. A short interval offers a glimpse of other screens, news footage and media events surrounding the thing itself are briefly seen and heard. Their interference fades as we enter the surface of objects.

Nano – Circuit board Surface – Plan:

What might seem as a night shot of a city in plan slowly turns into a glowing circuit board. Highways of circuitry wrap around towering transistors and resistors of all shapes and sizes. ‘Daybreak’ reveals our circuit board. A surreal element invades as we continue to move over it; black beads – tar-like droplets – appear between our gridded runways and cavernous circuitry. The substance gradually multiplies, forming rivers of dark ooze flooding the board. However, long before this culminates into a black deluge that smothers the whole object (prophesising the city end scene), we find ourselves slipping out of the shiny surface of a phone screen.

Body – Skin Surface – Perspective:

Behind the screen a mirror and a woman staring at herself. A closer shot of bare lips is animated by a hand moving a dark red lipstick over them. The trace behind the motion is highlighted by the dark ooze – subtly but evidently. Eyeliner, and lashing eyes sprinkle dark droplets into the air. She has worn her face. Bottled water perspiring with the black substance aids her swallow several pills. Harmless vitamins but their cabinet is also oozing with the fluid. Freshly painted nails start perspiring their own dark droplets as the perfume bottle sprinkles more onto her skin.

Food –Table Surface – Plan:

In the kitchen the family gathers to consume off the table. Packaging of all sorts is gradually leaking its dark ooze on the table top. As food is prepared hobs are turned on and dark liquid in pans sizzles. The camera in plan view to the table top shoots each dish being laid before its eater. Smiling mouths bight into meat and vegetables indifferent to the ever increasing tar-like fluid trickling down their faces and staining their clothes and filling their plates. A hand lifts a spoon-full of fluid out of a small plate ready to feed the family’s infant. The scene ends with luscious raspberries in a bowl next to their packaging labelled New Zeeland produce – the shining bubbly red fruits are slowly drowned in the black fluid. The bowl overflows and the table is slowly covered as we zoom out in plan view, out of the screen to pan onto another.

Products –The Shelf Surface – Elevation:

Our mother walks down an isle shopping as we follow her in elevation view of the shelving. As she moves forwards the shelves she leaves behind turn into cascading waterfalls of dark ooze. At the tills we have an elevation shot of the plastic bags piled and used for delivering purchases home.

Music/Culture? – Audio turns into concert – Zoom Out:

Monuments to national identity and human history are only preserved from the fumes induced by the substance by deploying methods requiring conditioning that can only exist because of the substance. The fresco of the Last supper perspires black droplets as a heftier amount of fluid gushes out of the holy grail. The Sistine chapel (ceiling plan zoom) cracks as the sky rains down with fluid. Fluid drips down the marble surfaces of columns; marble and gold become stained with the fluid.

Guitar/cello/violin strings vibrate as an orchestra plays. Gradually an orchestra is revealed with the fluid splashed off the instruments’ strings onto the stage, flowing into the isles. From the entertainment/cultural stage we move to that of politics.

Politics –The premise for wars – footage:

Symbols of government as well as officials themselves wallowing in oil as war horns sound and forces mobilised. The war machine leaking more and more fluid as it moves to deliver the political will unto other areas of the world. Kuwait, Iraq, Iran and the Middle East become the cesspool of military operations and resource extraction.

Vehicles and Infrastructure:

The oil secured. A static shot of the horizon at sea is slowly blocked by the movement of an oil tanker that comes into view and covers the entire screen (like the Boeing 747 in Koyaanisqatsi). An isometric-like view of the sea reveals more and more tankers as we zoom out to a landscape full of ships.

The oil well – zoom out to landscape:

 An oil well in Kuwait is pouring oil out like a fountain. The camera moves swiftly over pipelines. A screen off the current screen is showing the earth gradually covered over by a black network of lines (the pipe routes) like veins pumping the fluid to fuel humanity.

Landscapes – plan view

Food production – agricultural fields with machinery leaking the fluid all over the produce. Animals downing in it. Arctic ice caps are stained with dark blotches from beneath as oil begins leaking over the ice. The desert sand turns black. Greenery is covered by waves of darkness.

Aesthetics –All kinds of surfaces – ornate interiors, asphalt roads etc are slowly washed over with black waves– elevation/ plan

Landscape shots are mixed with surface shots. We are panning over surfaces, plastic, synthetic furs, faux gold, real gold, ornaments, marbles, precious art pieces – as they are gradually stained or washed over by waves of black fluid. The cuts are transitioning into movements on and off screen surfaces, as we start perceiving the screens more as a faceted diamond rather than a flat surface over a plinth.

As the earth is close to turning into a complete black orb in space.

“The world was void, 
The populous and the powerful was a lump, 
Seasonless, herbless, treeless, manless, lifeless— 
A lump of death—a chaos of hard clay.”

 

Drowning City – end scene.

We stare at a static view of a cityscape as sounds of it’s bustling life are gradually extinguished by the rushing force of an unseen flood. Then we slowly see the dark substance rising in waves between the streets, buildings are perspiring it and gradually the entire city is drowned (just like the circuit board) in the very material that makes it’s existence possible.

 

Storyboarding each of the scenes above to be uploaded later as well! :)

Working with a software called RealFlow to try and simulate fluid dynamics over models and in spaces. The opening to the Girl With the Dragon Tattoo used the same software for different reasons (create a nightmare of black ooze  – I literally want the ooze to refer to the oil industry and make it more critical in the context of the project)

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Storyboarding Intro

All about mediating between surfaces, scales and objects. I’m putting together the narration/script that goes with the intro as I story board more.

The current idea is that our faceted world is introduced after the “death” or transition from the surface of a drawing (at the moment farnsworth house can change not sure to what) and the entry into the surface of one single screen.

The faceted diamond of screens will never appear only as we transition from surface to surface we start seeing the appearance of more screens subtly and gradually. The big diamond of all screens will then appear as the faceted cosmos/globe of screens at the very end where all surfaces construct a ‘world’ of the event/things we were looking at but with a hollow interior since there is nothing beyond the surfaces themselves.

Also introducing a ‘character’ I’m calling her Pandora for now (after all I have a few boxes from my diamonds from Mulholland Drive to Houdini) her role is to be further explored for now she is reduced to a beautiful body that the camera man uses to flatten against the oil covered birds wings in the foreground and compose the sculpture of victory on the other end. (a sort of reverse Godard situation I was trying there from her eyes to camera to the objects being filmed aligned)

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Cosmology of Surfaces

First test of rendering footage on simulated screens. Now to start being more narratively strategic about it as well as the placement of the screens and even their surroundings (room?) etc. … Couldn’t resist a bit of overly-dramatic music in the meantime.

 

 

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Faceted Footage


 Some screenshots of a short clip I’ve put together, to be uploaded soon when it’s done rendering. Just experimenting with laying out footage onto simulated screens and generally playing around with the ideas we discussed to construct a faceted diamond of screens.

2017-02-26

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Media Facets

Diamonds are Forever_07 Diamonds are Forever_08 Diamonds are Forever_09The World as a Surface of Media Facets

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The object only exists on the surface. The ‘thing’ itself can only exist as its recorded self.

The Earth as a long exposure shot from the faceted International Space Station Window

The Earth as a long exposure shot from the faceted International Space Station Window

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World as Surface

Looking at the world and its events only as an agglomeration of surfaces

“Just look at the surface of my paintings and films and me and there I am. There’s nothing behind it. I’m all surface nothing else”
Andy Warhol 
 
 
“The skin disappoints … Clearly the only thing he possesses weighs upon him. It is superfluous since possession and being do not coincide. Possessing it is the cause of misunderstanding in human relations. I have an angels skin, but I am a jackal; a crocodile skin, but I am a puppy; I have black skin, but I am white; a woman’s skin, but I am a man. I never have the skin of what I really am. There is no exception to the rule, because I am never what I have.”
Eugenie Limone-Luccioni (‘La Robe’)
 

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The condition of footage should be seen, not as a collection of fragments but in terms of a seamless  skin/surface – the surface of the lie or the architecture of the fake.

In spatial terms how architectural forms are only attributed meaning through the event they host and the way we are guided as audience to read them (consume them as part of an edited spectacle) on screen.

The screen speaks of the ultimate surface illusion where any form is flattened into an endless stream of consistent spectacle.

The visual nature of form does little in addressing fact or fiction; it is always a fake or something trying to represent the idea of truth. Hence the fake should be seen in aesthetic terms.

When the most beautiful or purest forms often require huge methods/resources/structures to construct and maintain them then even our ideas about pure beautiful forms having some inherent reference to truth is a lie.

On Screen everything becomes an exterior 

It’s a project about surface/skin. Whether the object is on the scale of a landscape, a wall texture, a luscious fabric or a grotesque element the surface design and the subsequent editing of these spaces into a narrative on screen will begin creating associations and discuss the idea of adding ‘narrative meaning’ to architecture that arguably can never inherently exist as testimony to ideological ‘truth’ or ‘falsehood’.

What is the surface of architecture today?

What is today’s multifaceted diamond?

How is the new object recording the thing but never actually seeing the thing?

… not quite the faceted diamond of screens I’m after but a crazy set-up nonetheless:

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Beautiful and Grotesque Scenes

Everything below are screenshots from dozens of films and clips I’ve been compiling. I am currently trying to formulate a narrative to begin mincing them into a new film. Some are beautiful and some are grotesque beware.

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In order to begin thinking of the 3 act narrative of the new film I draw from the book ‘The Myth Gap’ I have been reading to describe the acts as follows:

Act 1: Facing a real Event – describing reality as it is

Act 2: Dealing with the Event – help people face the reality (lamentations)

Act 3: Prophecy – constructing hope for the future

These are very general themes that can propose a new way media-scapes can construct news. Specificity in their content is still needed.

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Cubescapes and “The Ugly”

I have been reading the text on “The Ugly” and trying to reframe my entire argument around certain key aspects of it including ideas about excess and boredom or fear of death. Mark speaks of it in Freudian terms and also refers to escapism as playing dead when we use our conventional approach to beauty as a way by which to project our desires and escape the non-space of loss or meaninglessness that is the ugly.

I particularly like how the argument refers to the idea of surface, the masks of expression and how it elaborates spatially by bringing the debate around notions of the exterior and the interior and their representations of each other. This made me think of the model ideas of ‘footage event’ fragments I showed in this reference last time form a Unit 15 student at the Bartlett:

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His project was about a Rubix Cube city which is totally different but the object above is quite inspiring for a potential next phase model to build into my film.

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Storyboarding Board

 

The blank canvas of the film. Using my previous editing structure and the screen layouts over the duration of a 12 min. I am rethinking what new forms of footage to start selectively placing and what new spaces to create. Looking at films of beauty and reading into Mark’s text on ‘The Ugly’.

Been gathering atmospheric scenes from various films. An intro of zooming into earth as I proposed last time is also what I plan to have a draft of tomorrow.

An idea for a ‘mincer’ model of landscape construction is also something in the works and I plan to discuss the idea tomorrow.

Storyboard_Layout

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FACTory – Composed thoughts

FACTory: Where we build our worlds

(below some renders I’ve been trying out in a landscape program Nathan recommended called vue)

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We approach an archipelago of stories; a landscape of narrative islands: the Telescape.

An event occurs. It lasts for some time. It begins and it ends. It has a place. It has a scale. It’s drawable, modellable and even tells a story.

Horrific events like Wars happened. Three Kings, Live from Baghdad, The Night Manager, Lessons of Darkness, CNN Live or Jarhead also happened . They claim their own islands in the global historic landscape we have constructed for events. Fact and fiction both aid the construction of the story.

An event broadcasts itself bigger than it is. An entire mythos is forever constructed around it; in our Telescapes this condition is maximised more than ever.

Archipelago

As we traverse 10 light years through time and space an entire broadcasting history leaves a weakened residue in places of which we can only see their past. The earth comes into view and our new digitised signals project silence. Our narrative landscapes are on exclusive bandwidths. More and more of us are looking inwards into the glassy planes of our screens.

We fall into a landscape, a building and a screen; Welcome to the FACTory. Inside the telescape we begin a mincing journey through narrative islands. The mash-up of fact and fiction could have never been so prolific and yet division reigns amidst the confusion of belief. Tribes of followers gather on each island preaching its dogmatic narrative. In the past ancients would pursue the sciences and worship the gods all at once; history and myth, facts and fiction had their islands but could coexist in the same archipelago.

Desert

We see glimpses of beauty as well as horror. One island prepares for the end of the world as an other celebrates peace and liberal freedom. News footage appears along side each island or is it footage from film?  We find ourselves in and out of screens in domestic interiors of varying tribal beliefs. And then we travel to landscapes where the consequences of our constructed narrative archipelagos are felt – revolutions for freedom with exuberant auras enabled by the Telescape, while elsewhere wars and pollution scour the earth.

Peruvian soldiers help remove mud from affected houses after a landslide in San Juan de Lurigancho distritct in Lima

Above, recent Peru floods after a severe drought thought to have been influenced by global warming

We find ourselves looking at all the stories compiled in a scroll, a finger swiping down the news feed almost endlessly.

 

 

 

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Footage as Oracle – The new ACT I

News Footage as an Oracle

The Facts of tomorrow constructed for you today

 

Above is a potential opening (Act I) of my next film iteration. We are zooming not into Kuwait but the world from the point in space where our fist tele-communicated transition would have reached by now: 110 light years away (thus conceptually tying the zoom-in to the narrative of news footage and broadcasting stories). This will help me start thinking about what propositional news landscape we meet when we finally zoom into a screen on earth since everything in my films so far will have already been seen or heard as we zoom in (will edit them into the zoom clip) as we are approaching earth. Hence my project’s previous content will only make a cameo in ACT I of the next iteration. 

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The extent of human radio broadcasting so far  (not the square, the blue dot!) ... https://briankoberlein.com/2015/02/19/e-t-phone-home/

The extent of human radio broadcasting so far (not the square, the blue dot!)

link: Our Signals In Space

As we zoom out of earth to 110 light years away we can pick up weak signals of our tele-communications history. The scalar and time jump is still behaving like conventional historiography and new reporting; it is retrospective: only about what happened. By zooming into earth we are moving from past to present and then we land on our screens, where the telescape becomes a site for the future. As architects we always project with what we propose. How can news reporting shift to being speculative and projective – announcing possibilities and inventing myths to overcome the ambivalence of facts?

An oracle is found in the Telescape. The newsroom is dead. Journalism is open sourced and the classic construction of myth and history is rampant (people can accept things without being dogmatic – gods and heroes can exist alongside mortals and real world facts). The news fabricates tomorrows – forecasting is no longer restricted to the weather but a fact-based fiction. It is a about the construction of stories, communication and the mincing of information and narratives. The world seen as a gigantic tele-sphere of narratives – we see this world from the perspective of what is now shocking fake news but how can we constructively design fictions in news reporting to produce new outlooks? Is the site only inside the screen, in the flattening of time and scales or is that this site merely the beginning and the constructed narrative becomes self-fulfilling? (Preppers – prepping for the End of The World As We Know It i.e. TEOTWAWKI – it’s a thing – are only part of a self-fulfilling nihilistic narrative where they accept imminent catastrophe and refuse to believe we can turn it around by only fuelling an apocalypse by preparing for it)

Mapping Film using Time and Distance

Mapping the previous film using Time and Distance to shift scales, with the camera/screen at the centre

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been watching The big Short :)

 

Next Step:

WHAT DO WE GET WHEN WE ENTER A TELESCAPE ON EARTH? 

 

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The Jury: Or How I should Learn to Stop Worrying and Love Fake News

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Thinking positive about Fake News

FACTory – A New World Order

 Or How We Learned to Stop Worrying and Love Fake News

In the Diamond Age the Primer taught Nell through interactive story-telling.

This is a project about communication – story-telling moulding the world – viewed through the lens of the news  (footage and the screen). The traits stem from ancient myth-making and myth-telling practices but their social consequences and political prominence has been revivified through technology and the cultural and economic frictions of globalization. We are still (even more so online) in a world of orators and followers (story-tellers and story-believers – the former of which compete for likes and prominence) What would the world look like if it was mapped by belief and story-telling? If the currency moves from monetary value to narrative value?

In a speculative scenario where democratised journalism IS the chief story-teller competing between the most absurd fictions to the most conventionally defined facts, how would both physical and digital (screen) sites impact behaviours? The argument is to start constructing a mesmerising, beautiful new world where the only form of recognition is via narrative spectacle. Where the shape of the physical world, including it’s communities, borders, wars and architectures shift by how individuals compete for prominence in story-telling.

The future of news and its mediation through screens (annihilation of the traditional newsroom all together) becomes a window through which we can access some areas of this speculative world where footage is manipulated in many ways to deliver stories.

The aim is to break from a moral attitude towards fake news since to date I have, through my research and thesis already made the statement (and argued) that fact and fiction have become one and the same in the way that they are constructed. Now we need to stop worrying (obsessively) about the demise of facts and find ways to design a world where story-telling through footage and our tech (screens) shapes worlds of beauty as well as horror.Where facts can still reassert themselves and their authority but by shifting how they are communicated and constructed. 

 

Additional Thoughts:

The Rochdale Herald satirical website set up to look like real news. Often it is taken as real news if some of its articles end up on someones facebook feed: The Rochdale Herald – Real News Satire

This morning on the BBC there was a special debate on the Victoria Darbyshire program about Fake News. Sky News has a short video on how to identify Fake News. MPs are to debate the issue in Parliament. It is clearly a current, troubling issue but nonetheless not a new one and perhaps by being shocked and afraid of the ambiguities it attributes to facts may be inhibiting a response. We should find new methods of challenging thew condition by embracing its vices and virtues.

Alternative facts are as true as facts, relative to their context. We should stop bickering about them and question whether an extreme obsession with authenticity and verifiable facts is part of the issue fueling those prepared to exploit the situation for their own agendas. There is nothing shocking about opportunism, corruption and news editing for manipulation. Even conspiracies don’t shock anymore, there have been too many.  It has however reached a new, perilous zenith on the political stage.

FACTory Jury Posters

Posters_Page_1 Posters_Page_3

 

Two books I am looking into:

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FACTory – an AA real news report

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Good morning Nation!

Once upon a time people used to be entitled to their own opinions but never to their own facts. Fear not, for now you can be entitled to both. Yes to your own facts as well.

This special report brings to you a project that is not about truth but rather about narrative production. The site of said project is the Telescape. Particularly with the past weekend, our screens have been riddled with footage pointing to the demise of fact or it’s indistinguishability from fiction. With the consolidation of a post-truth era (hashtag: word of the year 2016), government officials are justifying evidence as alternative fact, in what BBC press night compared to Orwellian doublethink.

However, as much as we’d like to blame the escalation on very recent events it has been on-going conundrum since the dawn of the telescape, revolving around such events as the first Gulf War and particularly their construction on the screen. Fragments of reality in the form of media news footage meet screens to tell us stories. Let us enter the landscape of these stories where we shall start from the desert, a crate blanche for the story-teller.

Let us witness spectacle/news (same thing)

FILM [reduced from 16 to 12 mins]

Conclusion:

Evidence Table – please feel free to interact with the pile

We sell a war, we deliver the war and we report the war on screen we even tele-battle – but these alt-factual events have very real consequences which are often under-reported due to lack of newsworthiness, narrative spectacle or viewer boredom (beginning of quote – this story is so done waste of my fucking time .. poor fucking birds end quote). Like a lot of architecture outside of our discourse, facts are aesthetically scrutinised under the eyes of the world – if it looks spectacular, or horrifically raw, if it’s istagramable, prime-time worthy and awe-inspiring then it deserves attention. To narrate is necessary for we are our stories and stories must be told, but at what cost? Let us discuss the telescape with our panelists.

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Staged Truths

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another two posters to come with a shortened re-edited version of my film :)

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Poster Progress

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FACTory

Jury draft text below (an edited version of my last film will be shown in between with some images I am also working on):

Truth is aesthetic.

Something is only true if it is spectacular; in equal measures either mesmerizingly staged or horrifically raw.

The truth is, this is not a project about truth, but about the space of narrative production and consumption. These spaces are no longer found in conventional architectural forms but increasingly exist within the framework of the screen with footage as their material. Truth is virtualised in a site we can refer to as the Telescape. If there is no footage then there is no story; no architecture.

The media gives birth to a reason for war, a war happens and the media writes about the war more. The self-fulfilling nature of belief drives the rate at which we construct, destroy, or make sense of the world.

History, like fact is constructed and post-rational. All experience is fragmented and everything sits within its own ‘Area51′, its own conspiratorial ‘Hangar 18′ somewhere in a desert. The newsroom is the screen. The architectures generated by it correlate with a very tangible physical fallout.

The screen initiates a story and we find ourselves trying to catch up with its consequences in a world of confusion facing its very tangible aftereffects. Google’s most popular search term after the EU referendum was in fact ‘what is Brexit’.

Abstracted worlds of ideas are lending themselves to the world of facts within our screens. The world is flattened in both scale and time within the site of the Telescape. Facts are increasingly indistinguishable from fictions. Can architecture respond to the condition? Can fact/fiction-spaces be reconciled? Or should be just lend ourselves to designing spectacles alone?

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Televolution – Fact Factories

Time Magazine: Issue 19690725Here are some spreads for my TS course of Mass-customization. In them I am also trying to brainstorm on ways of further exploring the potential of spatial flattening through the screen, as one of the project aspects we discussed during the last tutorial.

Also … how’s ‘Fact Factory’ as a current title? Too literal? :)

Televolution_01 Televolution_02 Televolution_03

In terms of the project and the Jury what I’m focusing now is to build on my previous film narratives and construct a new story as a news report that can produce its own factual/fictional objects and spaces.

The ‘film posters’ or ‘news headlines’ could be a good initial starting point to capture/frame key ideas and discuss tomorrow.

 

 

Links to last term’s films:

Phantasmagoria: (film at very bottom of post) http://dip9.aaschool.ac.uk/the-film/

Telescapes: https://vimeo.com/195713417

Live screen overlay: https://vimeo.com/195735021

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Staging Spectacle + other references

Screen Shot 2017-01-16 at 21.57.04

I am currently putting together a story arc summary for each of my past films (Film01_Phantasmagoria pictured above) to see where to take them for the next jury and discuss tomorrow.

After a somewhat ‘procrasti-weekend’ I’ve been looking into the ‘newsroom’ as a space for launching spectacles on screen. Great reference from Natasha below is Philip Johnson’s Crystal Cathedral which was commissioned by Robert H. Schuller, one of the msot prominent televangelists of his time. The Cathedral was to act as both stage and television set for the Hour of Power show (from 70s to 90s) that was broadcast from the church.

The Crystal Cathedral – A News Report on ‘the End of an Era’

the-crystal-cathedral-orange-county hmmm Johnson took a little bit of inspiration from Mies it seems … just a little…00d58c276eba7d58447d328492ed60a5OLYMPUS DIGITAL CAMERA

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After the Schuller family’s viewers began to dwindle and amid rising costs the cathedral was sold to the catholic archdioceses of orange county which has stripped the interior almost bare and reconfigured it to meet their congregation standards.

la-me-ln-orange-county-catholics-adv-snap CRYSTAL_04

 

Looking more into newsrooms and how new ever more compacted designs are being used by media companies for their headquarters, I came across the new Al Jazeera HQ on the 16th floor of the Shard by Veech x Veech (http://veechxveech.com/?work=overview) who seem to specialize in designing media spaces. It’s interesting for deviating from the typical ‘big black box’  of other media HQs (BBC broadcasting house) by being in a low ceiling, small  office floor, in a tower and using the view as part of the newsroom backdrop as well. Other than the bare minimum of a green-screen as a set piece, the Al Jazeera newsroom at the Shard is one of the most recent examples of what I guess is deemed as state of the art newsroom.

Veech_MediaAl_Jazeera_StudioThe_ShardLondonHuft_19 Veech_MediaAl_Jazeera_StudioThe_ShardLondonHuft_18 Veech_MediaAl_Jazeera_StudioThe_ShardLondonHuft_15 Veech_MediaAl_Jazeera_StudioThe_ShardLondonHuft_4 20141128AJMN_LONDONVXV21

Finally what is to be the most expensive (or at least so far has amassed the most private donations) as a presidential inauguration ceremony is the upcoming US inauguration of Donald Trump with the traditional temporary VIP stage erection in fornt of the Capitol underway for this Friday’s event.

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Some other references that I found interesting for Maxime and Emma. Emma if you haven’t seen this below it’s a screen in Beijing for showing the sunrise live during smoggy days for the people who otherwise cannot see it (the outside has become an interior because of the smog). Maxime, a cathedral in a former mine in Poland that was carved out of the rock.

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Also for Emma: A war film chronicles Yugoslavian history, in which protagonists organised themselves to live underground from WW2 to the civil war of the 90s (been a while since I’ve seen it)

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Nested Spaces

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In the process of trying to model scenes from each screen. Still questioning whether to model only what is in view or beyond it since I’m unpacking the 2D views on the screen.

Eventually, I aim to compile these as perspective or isometric drawings/renders in the form of self-contained spaces that are minced between them through the interface of the screen. The footage unpacked into a inter-spatial collection of exteriors/interiors.

Drawing from the discussion we had by our two guests I’m interested in critiquing the usefulness of truthiness (the obsession to uncover conspiracy after conspiracy or ‘take down the system’). When I referred to the term ‘aedicula’ (definition below) to characterize the spatial aspects of scale, time and narrative it is with the aim of using the self-contained models of footage as spaces nested within spaces and exaggerated by some being very mundane/domestic against others that are of global current affairs (newsworthy vs. not newsworthy footage/space). By doing so to start questioning this seemingly ‘absolute’ strife for a-hierarchical, free and completely transparent (factual?) world.

aedicula: The Latin word for a building is aedes; the word for a little building is aedicula and this word was applied in classical times more particularly to little buildings whose function was symbolic–ceremonial.

It was applied to a shrine placed at the far end, from the entrance, of a temple to receive the statue of a deity–a sort of architectural canopy in the form of a rudimentary temple, complete with gable–or, to use the classical word, pediment. It was also used for the shrines–again miniature temples -in which the lares or titular deities of a house or street were preserved. Now, the aedicule, from a remote period, has been used as a subjunctive means of architectural expression. That is to say, it has been used to harmonize architecture of strictly human scale with architecture of a diminutive scale, so that a building may at the same time serve the purposes of men and of a race of imaginary beings smaller than men. It has also been used to preserve the human scale in a building deliberately enlarged to express the superhuman character of a god. Perhaps this should be put another way: the aedicule has been enlarged to human scale and then beyond, to an heroic scale, losing its attribute of smallness and ‘cosiness’ but retaining and affirming its attribute of ceremoniousness.

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Also, very fresh news, below extract from the leaked buzzfeed document, that alleges Trump defiled the same bed the Obamas slept in at the Ritz Carlton in Moscow, using sex workers. Whether it is a narrative that manifests in my mincing and nesting of spaces I am yet to see. The uproar surrounding intelligence, reliability, fact, etc at his press conference yesterday (2 weeks before he’s inaugurated) was stupendous.

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Quantity of Footage

 

Just came across this in the news and though it was quite interesting. Rob Pruitt, an artist, produced one painting a day for each day of Obama’s presidency, amassing around 3000 by the end of it. Here is the full article: The Obama Paintings: using art to examine a presidential legacytumblr_oi1uf0PxHQ1r29uz6o2_1280 tumblr_oi1uf0PxHQ1r29uz6o5_1280 Schermafbeelding 2015-05-16 om 10.55.15 copy

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Cloud_3.0

A revised thought cloud I have been working on forming the basis of my white book contents and a platform from which to launch the next phase of the project.

Some images over the break,  on a trip to Salzburg: img_0026

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Telescape: A “Live” Mince

A live mince of footage:

A pre-edited mince of footage: Telescape – Discerning Fact from Fiction

film_poster The film ‘poster’ containing fragments of what or where appears in the ‘telescape’ of the film, scattered across the narrative landscape of the desert.

live_minceThe Live set-up, streaming from a distant room.

In terms of jury feedback and what next the construction of my own fiction and even the production of drawings/objects and pieces that can feature within it was quite interesting. Thinking of ways of developing this further than just “it’s a fictional story made to seem real/factual”

 

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Screen Recording Tests

Started to place new narrative screens on the main screen and testing practical arrangements of the set-up.

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The Film as a Landscape_WIP

 

 

A first draft of what the shift in scales and views may look like if the idea of the image is a hyper-realistic landscape depicting places/objects/plots of the film

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Screens on Screens

‘TELESCAPE’

… is the current project title after having been spectacle-related as ‘PHANTASMAGORIA’ in the previous jury. Now the spatial implications of the screen, through the use of footage, are more of the focus.

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Part of my trials for the jury is a set up of screens-on-screens to physically mince footage, time and space. The main badrop will be a re-edited version of my previous film and new narratives will be placed over it using other screens. I’m currently in the re-editing process and choreographing the placement of the additional screens and what they shall be showing. At the moment, Weapons of Mass Destruction and a leak on Brexit plans through the photographing of a government aide’s notepad,   will be the ‘infill’ narratives.

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New Forms of Footage

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Have been thinking of different kinds of footage to add to the screens that I will be overlaying over my past jury’s film. Thanks to a great reference Sebastian sent of CNN 360 videos, some quite compelling ones from the battle of Mosul could come into the narrative and allude to interactivity and a different kind of spatial flattening.

Here is a link below but for the 360 to work it needs to be in a chrome browser.

Facebook 360 hashtag – Scroll Down for ISIS Mosul videos

CNN 360 – which may not available on some devices

Finally, fine tuning the script and for the next steps planning to test the layering of screens over screens physically.

Here’s another crazy story of fiction turning into fact with dire consequences incase you haven’t heard of PIZZAGATE:

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Drawing the Film

As discussed last time I’m trying to put together a drawing which spatial the content of my first film into a landscape here is a sketch below. The aim is to create visible non-linearity between spaces of fact and spaces of fiction at different scales. A linear story can only be traced if you try to associate each area with the film (film screenshots below).

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screenshots

The main definitions I’ve posted previously to help focus the thesis:

Footage / A recorded fragment of reality – collected for journalistic purposes

Telescape / An interspatial region facilitating an event seen from a distance (from Greek τελε-). The site of contemporary knowledge and memory

Screen / An apparatus on which telescapes exist and where footage acquires narrative purpose

Mince / An action of editing footage and to reveal by degrees rather than directly (to deceive)

Stir / An action of re-arranging footage and constructing the narrative in a different order

Fact / Constructed by mincing and stirring footage

Fiction / Constructed by mincing and stirring footage

Truthiness / The quality of a constructed fact

Spectacle / The goal for narrative success and reinforcer of truthiness

Time / Exploded by the quantity of footage and compressed by mincing

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Some definitions

Footage / A recorded fragment of reality – collected for journalistic purposes

Telescape / An interspatial region facilitating an event seen from a distance (from Greek τελε-). The site of contemporary knowledge and memory

Screen / An apparatus on which telescapes exist and where footage acquires narrative purpose

Mince / An action of editing footage and to reveal by degrees rather than directly (to deceive)

Stir / An action of re-arranging footage and constructing the narrative in a different order

Fact / Constructed by mincing and stirring footage

Fiction / Constructed by mincing and stirring footage

Truthiness / The quality of a constructed fact

Spectacle / The goal for narrative success and reinforcer of truthiness

Time / Exploded by the quantity of footage and compressed by mincing

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Narrative Poster & Narrative Landscape


“Some truths are better kept behind a screen,
Especially when they would look like lies”
 
Lord Byron, Don Juan
 

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Above is a diagram in sequence of the narrative through the screens. We maintain a split screen set-up for the background with several screens moving over as we construct the story. One screen begins the first video call session then within that we have other calls to other screens until we loop through 3 different sites back to our split screen set-up.

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Some thought-sketches developing a story that could feature both the “notes” that caused a stir on the news which we discussed yesterday (see link below) as well as some of my diamonds.  We also see the locations that the screens will take us through. Essentially the screens become an apparatus for constructing a drawing.

I am developing the set up for the screens to accomodate the story but the idea is that this time as the screens set up the narrative we are having the “narrative poster” appear in parts as the story is constructed.

Minister dismisses ‘have cake and eat it’ Brexit notes

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Mincing Facts in Screens _ 3.0

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A Film of the set-up

For the third test I linked more than two video call sessions and the location we are transported to, before we loop back to the altar of truth (Trump), is a bit more exoctic this time (think Palomar).

Revelations at tutorials tomorrow. In the meantime … lunch on me to whoever works out the set-up  :)

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Mincing Facts in Screens _ 2.0

An intro image: The Politics of a video call … how Erdogan topples a coup thanks to Face Time!

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So following on the mind-bender of last week here’s another image to reconstruct the interiors/exteriors and the final fact of the story. If you can’t work it out visually a brief explanation follows beneath the images.

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A film of the set-up

So the incubator babies of the first Gulf War is the fact/lie in this test but I am inclined to weave contemporary one in the next iterations. This test instead of just two linked locations is going through three. Still between two countries (Uk and Cyprus) but from my location, to a room in Cyprus and then inside a metal shipping container (turned tool shed). The narratives are yet to become location-specific in the way that the first fact/lie is transmitted through them but that is the next phase.

Working on another test today to try the location idea again and diagram the ‘construction of fact; more specifically to start building a narrative with actions/dialogues at each screen location. The outcome is brief and fairly direct but the set-up logistics need working on. Any feedback is welcome.

Some fun Baroque plans (since we refered to Bernini and Borromini last time)

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Inside? Outside? This cross design of a city at the sea (Ancona) by Bernardo Antonio Vittone, an Italian architect of the Rococo period, won the first price in the Concorso Clementino in 1732. The fountain in the middle was a copy of Bernini’s ‘Four Rivers’ fountain on the Piazza Navona in Rome.

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Wonderbook!

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A crazy book with loads of information on constructing narratives of all sorts.

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Enter Tele-scape + Word_Cloud_2.0

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What you see is a true lie. Footage from three landscapes are all mincided by the screenscape into one narrative.

A loop from my room back to my room and to my laptop screen. Above is the set up and below images of the views. Through 9 screens we are looking back at my laptop screen from the Uk through Cyprus and back again. On my laptop screen we are inside the Philip Glass Koyaanisqatsi. (They become 11 screens if we add the unrelated content of the other two large monitors behind my laptop screen).

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 Word Cloud 2.0! Within the big cloud of Phantasmagoria the clouds of journalism v. narrative, room, landscape, and footage are being minced:

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Also a very interesting look into the Narrative Index – Facts alone are completely irrelevant the delivery of a strong narrative matters more:

And to finish off a funny article on the meaning of “Mincing” from a journalistic perspective especially Mincing as in to “tell by degrees, instead of directly and frankly; to clip, as words or expressions; to utter half and keep back half.”:

The Meaning of Mincing

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Thought Clouds

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Have been adding to a thought cloud, compiling key words, ideas and links between them, a more formal version is on its way.

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The image above of the pyramid in the sky made up of artillery is from the music video below towards the end vehicles pile up to form the ominous object in the sky.

Finally was reading into studies on media and amateur footage a book I am looking into has quite a few interesting pieces ont he topic shown below. On the right is another book to be launched on Thursday; is something I am looking forward to!

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War the Theatre of all Culture

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From the Jury discussion there were several topics I found extremely interesting and I am currently organizing thoughts into a new potential direction.

Through a series of pieces the next stage of the project could be described; The pieces are to include highly specific films each accompanied by an illustration/drawing, an object and text/poem/article. A balance between visual ambiguity and clarity could describe a narrative through each piece and altogether would form the story.

The proposal for now aims at focusing on ‘War’ as an apparatus for discussing new architectural aesthetics (purely War at its most beautiful and spectacular forms in contemporary media) and instead of the output being a narrative about warfare its phantasmagorical effects are used as a proxy for new narratives.

1. The Forever War

 

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In this way war phantasmagorias are to act as a framework for both commentary and design proposal within the context of a state of perpetual war and arguably one in which war or the military industrial complex are mothers/fathers of culture itslef.

2. It Is beautiful!

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War Is Beautiful – by David Shields David Shields analyzed over a decade s worth of front-page war photographs from The New York Times and came to a shocking conclusion: the photo-editing process of the paper of record, by way of pretty, heroic, and lavishly aesthetic image selection, pulls the wool over the eyes of its readers; Shields forces us to face not only the the media’s complicity in dubious and catastrophic military campaigns but our own as well. The mighty Times, far from being a check on governmental power, is in reality a massive amplifier for its dark forces by virtue of the way it aestheticizes warfare.

3. Brecht’s Primer in 3 steps

With Brecht’s work, re-readings by Walter Benjamin as well as subsequent reproductions of his War Primer, I aim to identify characteristics of theatricality/phantasmagoria (baroque effects) that are prevalent today and can become the crux to a language of aesthetics.

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Book by Adam Broomberg and Oliver Chanarin Above Jospeh Goebbles is shown with a caption as he appeared in Brecht’s original War Primer but Bloomberg and Chanarin add a new dimension by overlaying a munch discussed photoshoped image of Iranian missiles over the Nazi chief of propaganda’s face

 

Oliver Laric ‘Versions’ – at 2:10 the missiles image shown collaged above Goebbles face is discussed.

4. War as Culture – Objects and Iconography

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The famous spectacle of the ‘Fly-By’ during major events over London is predominantly a parade of aerial military technologies where even commercial objects (concorde and later A380) become nationalist icons and int he case of the concorde produced as competition during a climate of war (Cold War)

5. ‘Punk’ as the Counter-culture to War:

Through music, fashion and the arts the counter-culture to political establishments is seen.

Punk aesthetics of the 70s and 80s are already dated, what would 21st Century Punk look like or Punk architecture?

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Evolution of war iconography, Robert Overweg 2011, Greenspon, Oliver Stone / Willem Dafoe, Call of duty black ops. The photo on the left taken by Greenspon during the Vietnam war features a soldier in an iconic and archetypical posture. It displays pain agony, possibly a call to god* all things the American public could relate to during the ongoing vietnam war, the assassination of Martin Luther King jr. and Robert Kennedy. This same posture was used as an inspiration for another iconic image. Oliver Stone featured Willem Dafoe on the cover and posters for the movie Platoon with the same iconic hands in the air, agony and a call to god can also be found in this posture. Oliver Stone adds a new cultural meaning to the image of Greenspon. The same posture and reference is yet again used but now in the game call of duty: black ops. During the first quarter of 2011 this was the best selling game of all-time in dollars on Xbox 360 and Playstation 3. The iconic posture once introduced to our popular culture by Greenspon went from subjective registration to critical movie icon to be used in a commercial computer game.

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Post-jury jubilation …

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Tony Blair and the famous Selfie montage which ended up in an exhibition at the Imperial War Museum.

 

Below the short film produced for the Jury:

Updates on overall direction and new ideas to come :)

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Act Two – Fire

Here are some snapshots from the second act. The screen climaxes gradually to a filled up state. Act Three, the resolution, or more comic/self-aware making-of and argument wrap-up is on its way :)

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Act One – The Approach

 

screen-shot-2016-11-14-at-02-39-34Here is a rough preview of the first act to build up the approach to the fire and topic. Fire footage is ready and is currently being edited into Act Two. Act one is subject to further editing and fine tuning as everything is brought together.

Stay tuned for the next two Acts ;)

 

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Animated Flames

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just a few minutes of animated fire

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A Fire – In Three Acts

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A progress update on the narrative further organised by notes, thoughts and script into my three acts. Below is a preliminary idea for a title, followed by the 3 pages of script, but for now I’ll continue working on the film editing and edit the script accordingly as the film progresses since it may change with the visuals. The base though is below feel free to comment although I know that’s quite a bit of text to get through (1001 words).

 
Phantasmagoria
brought to you by the Agency of Perception Management
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On Fire … briefly

A quick fire test proved quite mesmerizing for the briefest of moments during which the object could hold itself upright, before going all-out ‘Hindenburg’ to the ground.

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Ready for the Blaze

5 hours = 15 seconds of stop-motion from 3 camera positions;

. . . now off to burn it all!

Below are some images of the final set-up from the well-head to the plumes spewing out of it. The next phase is the burning. The stop-motion process and construction of the model and well-head have all been footage generators (have been recorded as ‘making-of’).

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Finally architecture as DISTRACTION, could perhaps form a refreshed way of describing the ideas encompassing all my apparatuses  – of screen, footage, time, baroque special effects/phantasmagoria, or indeed the war –  came to mind after our last tutorial with Natasha and Manolis when referring to ‘Wag the Dog’. Since we discussed how the detailed construction or re-framing of information/footage could be seen in relation to actual events and their theatrical dramatisation as ‘distractions’ or indeed ‘confusers’ of reality – Perception thusly Managed!

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Tutorial Teaser

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Infinite Landscape and a Teaser

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The Fargo “This is a true story”  text is apparently justified to the left in the 90s movie, the recent series is a bit more playful with how the each part appears.

Teaser of the Video I’m working on based on an 8 – 32 square grid which I expand or contract within its framework to make the grid less visually rigid and more of a guide.

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Below Is the set-up for the infinite Landscape in an hexagonal configuration:

Time-lapse of testing the mirror and landscape set-up (shot from behind the Two-Way mirror)

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Remember Remember Fire in November

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Today I tested my plans for a spectacular flame fountain simulating the oil well burst. Spectacular it was (eventually); however I found myself in quite a Guy Fawkesy conundrum. In the sense that my gunpowder plot may not work out as intended. But first, the results of my little experiments:

1. Lighting diesel on fire:

Observations:

– Quite hard to ignite, petrol is more flammable but significantly more risky and ‘explosive’ to handle so I personally wanted to avoid that.

– Needs a powerful, constant and direct flame in order to ignite. I used my caramelising torch gun. This presents an issue with the model because I won’t be able to light it up directly like this. I tried with a small flame on a stick/bud next to the spray nozzle but the diesel just burns it out instantly.

– The nozzle of the spraying device cannot be adjusted to fit the model. With a metallic tube to extend it through the model the diesel won’t ‘spray’ out in particles like in the video but as a concentrated stream, hence it won’t ignite at all.

– Finally all tests were lateral. I wanted my model to be vertically spraying the flame which i tried in the test for a brief second to realise how dangerous it got and that the diesel does fall downwards.  The model could be placed side-ways and faked through the shots to seem level but then we still have the issue of having that constant flame next to the nozzle and fitting that nozzle in the sand pit, all without noticing it and getting it seamless. These challenges make the negatives outweight the positives of the method for the effort required and especially the risk.

– Sideways or upright, the spraying diesel could very possible go all over the mirrors and completely ruin the effect of the landscape. (we did get it everywhere in my tests, hands, devices etc. which added danger to handling fire so close and having diesel all over you)

- The only effective solution for this method is to have a hidden wider hole in the sand pit’s centre the model placed sideways (but from the footage seem upright) and we see no oil well head but just the landscape and the flame appears constant from the sand igniting the spray (still though would have to magically keep the sand from sliding off once side-ways so this solution might also not be ideal)

 

2. WD40 Spray (I tried it out for kicks BUT this won’t be allowed for H&S reasons)

Note: Incase you are wondering those aren’t my hands I had a friend who has handled fire in this fashion before generously donate his back yard for the tests and (much to his own enjoyment) be filmed trying my tests out.

What’s next: Still assessing the results but it became pretty clear that it’s particularly challenging and risky using any ‘spray’ method or trying to literally achieve this effect at least (of the oil well stream on fire by igniting a flammable fluid) for my video. It is with sadness that I say that because the effect would have been awesome to film in the infinite mirror landscape. And to be completely honest I have pushed the tests to a point where I myself see the fire in the form of a flammable liquid too risky to handle and would rather (as much as I wanted to) not attempt this at school.

I am however considering going back to burning an object perhaps something placed right above the model oil well nozzle to look like some kind of (paper) version of the oil erupting but obviously static. Once on fire I hope it will provide enough of a spectacle for the footage to be useful in a similar way.

After all my overarching ‘why?’ isn’t ‘because oil well fire’ but ‘because of spectacle out of footage’.

I will focus to have a draft of some footage put together to discuss the film itself further next and rethink the model in the meantime.

Would appreciate any ideas/comments from anyone perhaps there is some way I am not seeing from being caught within the ‘bubble’ of the process.

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The Story

When Bush senior took the US to Kuwait.  At 7:37 A New World Order is introduced for the first time here.

Below is my narrative set up, a first draft of the overall script. It will be reworked while I start putting the footage into place.

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Gogglebox – reaction as spectacle – We become the story

The overarching ‘Why?’

Disproportionality of footage versus events turns anything into spectacle; We become the story and the content of the story no longer matters. We stare back at ourselves.

A neo-baroque spectacle: What interests me socio-politically with the introduction of the term “neo-baroque” is to use it as an umbrella terminology to weave an argument referring to the relationship between footage and counter-rational dramatization of moments that are exploded within it. I have been compiling readings and references to sharpen this argument and its specific relationship to contemporary media and time (a lot of the terminology and philosophy spins it back to imploding or expanding of time through spectacle) It could, down the line provide characteristics of further “effects” that might be achieved with my proposal/footage/project structure.

What I allude to with Baroque and Neo-Baroque Spectacle (parts of the narration will start defining characteristics to open this discussion):

‘baroque’’ implied an art or music of extravagance, impetuousness, and virtuosity, all of which were concerned with stirring the affections and senses of the individual. The baroque was believed to lack the reason and discipline that came to be associated with neoclassicism and the era of the Enlightenment. More importantly how it was embraced by the Catholic church as tool of political power in the counter-reformation era very much how the media corporations today online or on various news feeds embrace our proliferated footage to generate meaning, often deliberately confusing and thusly managing perception of what is shown.

As a result of technological, industrial, and economic transformations, contemporary entertainment media reflect a dominant neo-baroque logic. The neo-baroque shares a baroque delight in spectacle and sensory experiences. Neo-baroque entertainments, however—which are the product of conglomerate entertainment industries, multi- media interests, and spectacle that is often reliant upon computer technology—present contemporary audiences with new baroque forms of expression that are aligned with late-twentieth- and early-twenty-first-century concerns. The neo-baroque combines the visual, the auditory, and the textual in ways that parallel the dynamism of seventeenth-century baroque form, but that dynamism is expressed in the late twentieth and early twenty-first centuries in technologically and culturally different ways. Importantly, underlying the emergence of the neo-baroque are transformed economic and social factors.

To conclude I don’t wish at this early stage for the terminology to distract but to frame a wider argument of the “Why” and it might help focus the next steps not only the ‘making-of’ ideas but also how to cement the footage-spectacle relationship.

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Logistics

Here's the Humvee and toy soldier guarding my mirror pieces for size reference.

Here’s the Humvee and toy soldier guarding my mirror pieces for size reference.

The past two days have mostly been focused on managing logistics of my physical model set up. Pending replies from Joel and Jillian on footage advice and health and safety respectively.

In other news, have 5 60x60cm mirros and picking my two-way spy mirror up tomorrow afternoon. Advice from Tris has really helped advance the flaming side of things: Pressure weed sprayer I’m getting tomorrow as well will be filled with fuel and the nozzle will shoot the fuel out past a cotton bud laced with WD40 that will ignite it (the sprayer device and this overal set up IS apparently as safe as I can make this for distancing fuel source from ignition point and getting the desired effect). Here’s a super low-res reference for visual (not many people build flamethrowers for more serious applications it seems other than ‘fun’):

I show this one specifically because they use exactly the tools I am gathering for mine.

I am currently working on the narrative as the vehicle to frame my wider argument; my ‘why’ side of the project. I have some clearer idea and this is what I plan to focus on discussing tomorrow at tutorials since set-up wise with the physical model I just need to start putting the elements together and running some tests with that flame thrower over the weekend.

 

Stay tuned for the narrative …

 

Brought to you by
The Agency of Perception Management
Footage as an apparatus for neo-baroque spectacle! 

 

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Speaking of Nightmares

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Happy Halloween Emma and all! Also happy International Magic Day! ( trivia: Houdini died at 1:26pm on October 31st, 1926 and since magicians celebrated Houdini Day which later became International Magic Day coupled with the Halloween celebrations)

Here’s a reference I was told of over the weekend; polish artist Zdzisław Beksinski if anyone ever came across his eerie work.

Essentially he seems to be a ‘colourful C.G.Giger’. His works of fantastic realism feature surreal apocalyptic landscapes.

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This Is A True Story

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Lessons of Darkness is a documentary on the Gulf War by Werner Herzog, beautifully shot with great aerial footage of the oil catastrophe

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Following the overall topic of interest in ‘Exploding Moments’ and discussing the construction of an idea/event within the expanded ‘site’ of prolific footage, I am using the screen as a space to reverse-engineer the narrative of an event (the Gulf War). When I say ‘reverse-engineer’ it is understood from a non-linear narrative perspective.

The screen will provide the space for formatting the footage. The structure I have laid out for now is within divisions of a factor of 3. Vertically the groups are distinguish by ‘scale’ of footage; horizontally they are grouped by ‘perception’ or ‘view point’. screen-shot-2016-10-27-at-20-26-35

I am compiling footage (an ongoing process) from primary sources reporting the event, to films based on it or footage with unrelated subject matter but useful shots.

For now the key elements I am bringing together include:

1. Out-sourced footage

2. Physical Model of object and landscape (oil valve, desert and infinite landscape effect)

3. Digital model (a landscape piece of the desert with elements from the event/footage e.g. oil wells, ruins of large satellite dishes, oil lakes)

4. The Script and Storyboard (I am compiling pieces of text and audio files to go hand in hand with the narrative)screen-shot-2016-10-27-at-20-26-28

More importantly I am revisiting my Mulholland Drive Diamond to use the relationship between a dreamscape and factual realm of information as a non-linear narrative structure for my own footage. The aim is to refine the analysis and adapt the structure to my own storyboard.

Below is the beginning of story boarding of the opening: a sequence to introduce the ‘dreamscape’ as one of multiple footage screens observed by the an ‘agent’ and subsequently zooming into one to begin the narrative of the Gulf War. screen-shot-2016-10-27-at-20-26-41

Opening Scene: “The events depicted in this film took place in Kuwait during the First Gulf War in 1991.At the request of the survivors the names have been changed. Out of respect for the dead the rest has been told exactly as it occurred.”

Opening Text

The next steps are to continue the storyboard set up with select shots from the footage I’m gathering. Also plan the physical model to be constructed and start putting together a digital model of the landscape.

A reference useful to anyone interested in infinite mirror effects in general and two-way mirrors: Guillaume Lachapelle: Infinite Mirrors

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The Agents of Perception Management

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Time and Scale are formatted within the 16:9 world of our screens making them an apparatus for exploding moments and managing their perception.

I began arranging screenshots and images to develop a story board and open a discussion focused on the techniques deployed: from the physical model as a simulation, a rendered model, drawings/mappings and the methods of recording different scales. The technique is something I plan to illustrate in the next video test I conduct. Also through the technique I start identifying agents and scales (whether from a soldier, ground texture, satellite views or drones etc) who all contribute to the explosion of the moment and the management of its subsequent perception.

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Sharpening the argument:

What is also important to clarify is my position in terms of the overall direction. Although still at an infant stage, the project I find rests more on how proliferated information explodes a moment in time and scale. The way the information is later “managed” or “perceived” according to how “agents” weave into a narrative becomes an added area of interest.

What the overarching question should avoid is a discussion on the fake versus the real or simulations etc.  Deception is to me different to something fake or indeed a simulation.

Hence the focus is on this idea of “managing perception” as an apparatus for building up anticipation that will then begin to be subverted shattering the linear relationships that the different pieces of footage might establish between each other and the viewer. It is also important to note that I decided to eliminate the frame between the footage to allow for “spillage” and moments of confusion to develop as the narrative breaks down. 

The content, for now, remains within the Gulf War.

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Working with the 16:9 frame and shaping a flexible footage space

Identifying the Agents:

An Agent – the “actor” within the narrative and the one responsible for exploding the moment (be it from recording footage, managing its construction, or viewing it)

1. Informants/Footage Collectors

2. Footage Processors – Perception Managers

3. Receptors – Display

The next step is to continue refining the story board and start bringing in physical and digital versions of the event and incorporate them as footage within the narrative.

References:

Above, Fargo Season 2, used the split-screen as a technique to relate events and build up to moments. Sometimes it becomes interesting where there is an overlap or bleed between the screens.

The emmy winning music video by Slayer titled “Eyes of the Insane” relates to the second Gulf War as a topic. What I find interesting is the shooting choice of using a soldiers pupil to reflect imagery he perceives but more importantly how some of those events escalate and we experience a gradual effect on the surroundings of the eye (some more expected than others like when an explosion occurs).

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The Agency of Perception Management

KuwaitFires_NASABelief, anticipation and narrative interruptions – focusing on the technique of constructing a scenario using the screen space and the relationships between the different images/pieces of footage shown.  The aim is to further develop this process and construct the technique (for now populating it with the Gulf War scenario).

“Perception Management” was pioneered in the 1980’s under the Reagan administration in order to avoid the public opposition to future wars that was seen during the Vietnam War.

The United States Department of Defense defines perception management as:

Actions to convey and/or deny selected information and indicators to foreign audiences to influence their emotions, motives, and objective reasoning as well as to intelligence systems and leaders at all to influence official estimates, ultimately resulting in foreign behaviors and official actions favorable to the originator’s objectives. In various ways, perception management combines truth projection, operations, security, cover and deception, and psychological operations.

Burning oil field, Ahmadi Oil Fields, Kuwait, 1991

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Exploding Moment: Narrative perspectives

“… artistic gratification of a sense of perception altered by technology. This is evidently the consumption of l’art pour l’art. Humankind, which once in Homer, was an object of contemplation for the Olympian gods, has now become one for itself. Its self alienation has reached the point where it can experience its own annihilation as a supreme aesthetic pleasure. Such is the aestheticising of politics”

Walter Benjamin, Kunstwerk essay, 1936

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The quote alludes to perhaps a further progression into a project and development of my position on expanding moments. With the amount of information and the technology through which it is experienced, all these narratives and their interaction with the viewers are increasingly non-linear both in terms of time and space. It is also interesting how Benjamin makes a parallel between the homeric apparatus of “Olympian God-view” that Manolis also referenced as a device in the Illiad has transformed, through our technological experience of events, into an aesthetic experience for everyone.

In essence from the body and it’s prosthetic footage receivers (phones etc), the home and the city we are all simultaneously in a mount Olympus space.

As a work in progress, the overall setup for my second test is ready to burn! Stay tuned for the video that is to come out of it.

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I am in the process of conducting the second test, exploring the idea of exploding a moment through its staging, the way the footage is captured and later to be formated for viewing. This set up is larger in scale but more importantly the views are set up to represent potential “characters” or narrative perspectives that I intend to use to start exploring different narrative effects when the footage is composed together.

For instance, below are the views from an iPad and iphone setup. The former is an almost aerial view of the “fields” or landscape within the Kuwait oil fire scenario. The latter view is a bottom-up ground view, capturing the “ground troop/journalist” effect. The case study of the War and the fires are at the moment a prop for me to explore the techniques I am using and the way I want to set up a narrative and design around the overall ideas of proliferated footage and the way we access/view a project through it.

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A fish-eyed view will record the burning from a drone-like position while a God-eye of the entire process will record me coordinating the simulated oil field fires.

Following what was discussed last time, below are methods of formating footage I am currently looking into as well as some general references of how the project can progress beyond the specific scenario of the Gulf War as a case study.

Hierarchy and formating:

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An app called mosaic.io (that sadly was pulled from the app store) would allow multiple ios devices to be tiled together. In this example the screen size and position becomes a narrative device/apparatus for exploding the moment. It also plays with the surface of the table since the viewing is predominantly done by laying the screens out flat.

Visual Hierarchy:

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In the Eames IBM pavilion the interesting aspect of the formating is that it becomes more hierarchical in visual terms with the screen positions, angles and dimensions as well as the sound used as methods of driving the narrative.

Audio Hierarchy:

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In the film Timecode (which I got half way through with a lot of patience and concentration; alas it became too overbearing to finish in one go) The narrative hierarchy was established through sound, as the means by which to focus on corresponding grid areas.

Dividing Screens:

Finally the acappella youtube videos Natasha referenced are something I find interesting as a starting point, mazes that can turn into labyrinth depending with the narrative progression. In the video above the focus is shifted by the grids activated and deactivated according to whether it’s bass, lead vocals etc. but the overall composition seams to lack hierarchy because of the consistent grid. A potential break could be to overlap or expand events in some grids to adjacent ones etc. Below another similar video has a central focus on the lead vocals.

Spatial Speculation on the narrative effects of footage manifesting architecturally:

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Domestic space does not have to be the focus at the moment but this is an example that came to mind of how certain spaces (here the vietnam war) are brought into others (the american home) by the media and the tv set. Today the process is much more complex with the invasive nature of footage not as straight forward as a simple ‘media to viewer’ relationship; and also the spaces are expanded way beyond the home, as televisions have been replaced by increasingly more mobile sources of footage.

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Exploding Moment

Kuwait oil well model fire tests - process video

Kuwait oil well model fire tests – process video (embedded below)

Above is a short film I put together recording the process of exploding this moment from several vantage points and through the medium of film and photography.

The oil well burning isn’t as spectacular as anticipated but the technique of using filmic space and time to create relationships between the footage gathered and the way this information is displayed (formated) on screen is to be further refined.

The aim is to develop a process for a project narrative to evolve through and to start building an argument on the proliferation of recorded material that explodes events (spatially and in time) and questions values of memory, history and mythography in current affairs/architecture.

 

 

 

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Expand/Contract Time

Here’s a video on The Phantom Time Hypothesis (whereby historian alleges we aren’t in the 21st but in fact 18th century at the moment)

And with regards to the obsessive recording of concerts someone who made use of it below. this guy, Olivier Gondry directed a music video for a track from Daft Punk’s 2007 Alive tour that features footage shot by 250 audience members put together and, of course, sound edited so hearing it is not as dizzying as watching it! There’s a free app now called yangle which friends can create event-related groups for gathering their recordings (for longer footage than what you similarly can do on snapchat events)

 

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Exploding a Moment

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So I set fire to my own field of oil wells Gulf-War-1.0 style. A few hours of footage including prepping and recording generated from an almost 5 minute burning.

Following our discussion on Friday I focused on using time and points of view/perception as means for generating footage and expanding a moment. In a test I carried out below I recorded the burning of a model oil well by setting up several devices to capture the moment (including iPad, iPhone, GoPro, SLR camera and a webcam recording myself and the other cameras recording the moment). Prior to that I recorded myself in the process of putting together the model oil well. The set up wasn’t limited to expanding the moment in time but also expanding it spatially with a simple mirror set up to create an infinite field of moments.

Below are some sample images from the test: 01_gopro

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Fake WWI Paris

For looking at copies/fakes and deception

Link to Fake Paris video

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