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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