Tag Archives: film

TELESCAPE – Final Tables

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Screens are Go!

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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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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]

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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!

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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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New True Story – Script

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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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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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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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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
act01_narration act02_narration act03_narration
 
 
 
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Exciting Word – FILM

Film as it stands! WhoopWhoop!

P.S. Since the video has been exported, I have made the transitions much smoother!

 

 

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Losers and Winners

The film about a German factory being taken apart by Chinese workers who then rebuild the it in China is called “Losers and Winners”. The trailer can be seen here.

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