Tag Archives: telescape

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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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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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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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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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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