Tag Archives: narrative

TELESCAPE – Final Tables

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Screen Shot 2017-06-09 at 14.22.05

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Telescape – The Room + Story WIP

TelescapeC4D_01

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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New True Story – Script

FACTory

acta est petrolium, plaudite!
 (oil is over, applaud!)
 
2017-03-06 (2) 

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.

……………………………………………………………………………………………………………………………..

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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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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Narrative Poster & Narrative Landscape


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

scanscan-1

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.

scan

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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Wonderbook!

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

Wonderbook_Website

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A Fire – In Three Acts

2016-11-13-2

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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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.

screen-shot-2016-11-03-at-19-51-59screen-shot-2016-11-03-at-19-52-12

gogglebox-steph-and-dom

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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Is the narrative the context?

Yesterday during HTS (Architectural Straightjackets), Ryan mentioned something that made me think about narratives.
He spoke about Rosalind Krauss and the exhibition “Formless” at the Pompidou and how she was “taking out the narrative to break down the spaces” – or at least that’s what I wrote down.
He accompanied the story with an image of “Sky Cathedral” (1982) by Louise Nevelson where the artist took apart various objects and rearranged them. The project fails (or i think it does) in the sense that we can still recognise some of the objects and so the story is somehow still there.
However, the idea of removing the narrative stuck with me because that was the first thing i wanted to do to Dr. No. I wanted to take the story of the film and tell a different one: the story of the space.
I don’t know if this story should be a “story”, or a “description”, or “directions” (like in a map) of the space. Maybe it will be a “caption” to my drawing.

Also, there are the stories that built the space: the weird fish tank projection, the stolen painting … these don’t belong to the movie’s story but to the space story. No?

Sky Cathedral, Louise Nevelson (1982)

Sky Cathedral, Louise Nevelson (1982)

 

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