Most recent edit on 2010-08-13 06:57:44 by DanielLadnar
Additions:
Scenario for photograph #14 by Neil Callaghan
Scenario for photograph #15 by Sabine Sörgel
Deletions:
Scenario for photograph #14 by Neil Callaghan
Edited on 2010-03-05 22:41:07 by DanielLadnar
Additions:
Scenario for photograph #1 by Richard Allen
Scenario for photograph #14 by Neil Callaghan
Deletions:
Scenario for photograph #1 by Richard Allen
Scenario for photograph #14 by Neil Callaghan
Edited on 2010-03-05 22:28:41 by DanielLadnar
Deletions:
Scenario for photograph #13 by Esther Pilkington
Edited on 2010-03-05 22:23:04 by DanielLadnar
Deletions:
Scenario for photograph #4 by Gareth Llŷr
Edited on 2010-03-05 22:22:51 by DanielLadnar
Deletions:
Scenario for photograph #4 by Neil Callaghan
Edited on 2010-03-05 22:22:22 by DanielLadnar
Deletions:
Scenario for photograph #10 by Jazmin Llana
Scenario for photograph #10 by Simone Kenyon
Scenario for photograph #15 by Sabine Sörgel
Scenario for photograph #17 by Louise Ritchie
Edited on 2010-02-13 23:55:53 by DanielLadnar
Additions:
Scenario for photograph #10 by Simone Kenyon
Edited on 2010-02-13 23:53:10 by DanielLadnar
Additions:
Scenario for photograph #4 by Gareth Llŷr
Edited on 2010-02-13 23:47:43 by DanielLadnar
Additions:
Scenario for photograph #13 by Esther Pilkington
Edited on 2010-02-13 23:44:11 by DanielLadnar
Deletions:
Scenario for photograph no. 10
by Jazmin Llana
What happens when private space intrudes into public space? Is it possible that the most private space one can have is actually in public? What constitutes public space? Is not public space really an infinity of private spaces crammed together but jealously or fiercely guarded?
Day One.
This is the beginning. I am inside the sleeping bag. It is early morning and the space is empty except for me. Soon people will be arriving. This is a busy passageway and there is usually a continuous flow of people passing by and sometimes they stop to chat or smoke or just be by themselves. Will any of them notice anything unusual such as the sleeping bag? Will any of them take action? Approach the bag? Report it to the authorities? If they do approach the bag and see me, what will they say to me? I have a story to tell. Will anyone care to ask? Will anyone listen?
Day Two
It is midmorning. By this time I expect there would be people around or nearby, passing by or chatting or just going about their business. I will arrive with the sleeping bag and a rucksack. I will position the bag and start getting things out of the rucksack: a pair of jeans and some shirts that got wet by the rain, which I will hang on the railing; several books, a writing pad and pen, my laptop—I will sit on the bag and start working with these things; a sandwich wrapped in foil and crisps and a large bottle of soda—I will eat as I work. Then I will brush my teeth on one corner, using water from a bottle. I will change my clothes for sleeping and ‘go to bed’. This is my space now, or for now. I have been ejected from my accommodation and have nowhere else to go. Will people mind? Will they talk to me? Will they call the authorities and arrest me for ‘disturbing the peace’? I have a story to tell. Will anyone listen?
Variations:
1.)The scenario is staged in a different location (but also a public space).
2.)The scenarios are played out by at least three people, two of whom ‘merge’ with the ‘public’ and stage reactions to the first who does the actions described above.
Note:
This is an ethnographic project inspired by Coco Fusco and Guillermo Gomez-Pena’s Undiscovered Amerindians, though on a totally different theme. In order to protect (or not intrude into) the participants’ privacy, they will remain anonymous and no recording will be taken that will expose people’s identities without their consent.
Edited on 2010-02-13 23:43:43 by DanielLadnar
Additions:
Scenario for photograph #10 by Jazmin Llana
Scenario for photograph no. 10
by Jazmin Llana
What happens when private space intrudes into public space? Is it possible that the most private space one can have is actually in public? What constitutes public space? Is not public space really an infinity of private spaces crammed together but jealously or fiercely guarded?
Day One.
This is the beginning. I am inside the sleeping bag. It is early morning and the space is empty except for me. Soon people will be arriving. This is a busy passageway and there is usually a continuous flow of people passing by and sometimes they stop to chat or smoke or just be by themselves. Will any of them notice anything unusual such as the sleeping bag? Will any of them take action? Approach the bag? Report it to the authorities? If they do approach the bag and see me, what will they say to me? I have a story to tell. Will anyone care to ask? Will anyone listen?
Day Two
It is midmorning. By this time I expect there would be people around or nearby, passing by or chatting or just going about their business. I will arrive with the sleeping bag and a rucksack. I will position the bag and start getting things out of the rucksack: a pair of jeans and some shirts that got wet by the rain, which I will hang on the railing; several books, a writing pad and pen, my laptop—I will sit on the bag and start working with these things; a sandwich wrapped in foil and crisps and a large bottle of soda—I will eat as I work. Then I will brush my teeth on one corner, using water from a bottle. I will change my clothes for sleeping and ‘go to bed’. This is my space now, or for now. I have been ejected from my accommodation and have nowhere else to go. Will people mind? Will they talk to me? Will they call the authorities and arrest me for ‘disturbing the peace’? I have a story to tell. Will anyone listen?
Variations:
1.)The scenario is staged in a different location (but also a public space).
2.)The scenarios are played out by at least three people, two of whom ‘merge’ with the ‘public’ and stage reactions to the first who does the actions described above.
Note:
This is an ethnographic project inspired by Coco Fusco and Guillermo Gomez-Pena’s Undiscovered Amerindians, though on a totally different theme. In order to protect (or not intrude into) the participants’ privacy, they will remain anonymous and no recording will be taken that will expose people’s identities without their consent.
Edited on 2010-02-13 23:41:41 by DanielLadnar
Additions:
Scenario for photograph #17 by Louise Ritchie
Deletions:
A poor man's cow
Scenario for photograph no. 17
by Louise Ritchie
The domestic goat is often dismissed as the poor man's cow for its ability to thrive on meagre fodder and cope with harsh environments.
In this performance a man/woman will spend three days with a herd of wild goats. These can be found in the uplands and coastal regions of Scotland. Alternatively, this study could be carried out with a domestic goat in Folly Farm Pembrokeshire or in a farmer's field (make friends with the farmer first). For three days the man/woman will roam, eat, sleep and observe the herd or individual goat. Before embarking on this period of isolation with the goat, the man/woman should familiarise themselves with Joseph Beuys’ action I like America and America likes me. Your belongings should be kept in a small cart and transported using your arms and back to pull the cart (goats are often trained to pull heavy goods in this manner). Goats can consume 4.5 units of dry matter per 100 units of body weight per day. You should calculate this for your own body mass and take the correct weight of food to match the daily consumption of the goat. Following this three-day period, you will present your journey to a small audience. This can be in the form of photographs, video, and description.
To embark on this study you will need
1.)A map
2.)A notebook and pen
3.)Video and stills camera
4.)Waterproof jacket
5.)Sleeping Bag
6.)Water
7.)Dictaphone
8.)A small cart
9.)Food = calculate in weight
10.)One goat mask
Edited on 2010-02-13 23:40:09 by DanielLadnar
Additions:
A poor man's cow
Scenario for photograph no. 17
by Louise Ritchie
The domestic goat is often dismissed as the poor man's cow for its ability to thrive on meagre fodder and cope with harsh environments.
In this performance a man/woman will spend three days with a herd of wild goats. These can be found in the uplands and coastal regions of Scotland. Alternatively, this study could be carried out with a domestic goat in Folly Farm Pembrokeshire or in a farmer's field (make friends with the farmer first). For three days the man/woman will roam, eat, sleep and observe the herd or individual goat. Before embarking on this period of isolation with the goat, the man/woman should familiarise themselves with Joseph Beuys’ action I like America and America likes me. Your belongings should be kept in a small cart and transported using your arms and back to pull the cart (goats are often trained to pull heavy goods in this manner). Goats can consume 4.5 units of dry matter per 100 units of body weight per day. You should calculate this for your own body mass and take the correct weight of food to match the daily consumption of the goat. Following this three-day period, you will present your journey to a small audience. This can be in the form of photographs, video, and description.
To embark on this study you will need
1.)A map
2.)A notebook and pen
3.)Video and stills camera
4.)Waterproof jacket
5.)Sleeping Bag
6.)Water
7.)Dictaphone
8.)A small cart
9.)Food = calculate in weight
10.)One goat mask
Edited on 2010-02-13 23:36:05 by DanielLadnar
Additions:
Scenario for photograph #15 by Sabine Sörgel
Deletions:
Scenario for photograph #14 by Sabine Sörgel
Edited on 2010-02-13 23:35:58 by DanielLadnar
Additions:
Scenario for photograph #14 by Sabine Sörgel
Deletions:
Sabine Sörgel
DANCE IN THE FOREST
composed for a White Man and a Blonde Wig in four acts.
I.THE TREE OF CHOICE
Music: Philip Glass Heroes Symphony – Sense of Doubt
II.PRINCESS’ DANCE: THE GOLDEN WIG
Music: Antonín Dvořák Romanze f-moll op. 11
III.INTERLUDE OF SPOKEN VERSE
Voice Over:“From staring too long at trees I have become a tree”1 – repeated in a loop for 3’.
IV.NATURE MORTE
The Voice of Silent Drumming.
Edited on 2010-02-13 23:33:46 by DanielLadnar
Additions:
Sabine Sörgel
DANCE IN THE FOREST
composed for a White Man and a Blonde Wig in four acts.
I.THE TREE OF CHOICE
Music: Philip Glass Heroes Symphony – Sense of Doubt
II.PRINCESS’ DANCE: THE GOLDEN WIG
Music: Antonín Dvořák Romanze f-moll op. 11
III.INTERLUDE OF SPOKEN VERSE
Voice Over:“From staring too long at trees I have become a tree”1 – repeated in a loop for 3’.
IV.NATURE MORTE
The Voice of Silent Drumming.
Edited on 2010-02-13 23:23:44 by DanielLadnar
Additions:
Scenario for photograph #8 by Daniel Ladnar
Deletions:
Scenario for photograph #8 von Daniel Ladnar
Edited on 2010-02-13 19:44:34 by DanielLadnar
Additions:
Scenario for photograph #8 von Daniel Ladnar
Edited on 2010-02-13 19:36:33 by DanielLadnar
Additions:
Szenario für Foto # 7 von Lars Schmid
Oldest known version of this page was edited on 2010-02-13 15:25:25 by DanielLadnar []
Page view:
Archive of the Future: Scenarios
Scenario for photograph #1 by Richard Allen
Scenario for photograph #2 by Esther Pilkington
Scenario for photograph #4 by Carl Lavery
Scenario for photograph #4 by Neil Callaghan
Scenario for photograph #5 by Zoe Laughlin
Scenario for photograph #12 by Gareth Llŷr
Scenario for photograph #14 by Neil Callaghan
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