Parts 3 : Dioramas and Narrative

My Diorama’s are the products of an interpretation of Graham’s Theatre, Cinema, Power, where he speaks of reality always being seen through an imaginary frame.

In an urban reality, however remote, foreign or familiar, the City is experienced by way of engagement. Here a scientific technique provides a means of isolating components, the urban is understood by feature, part and not whole. These devices are an attempt to reveal the City by means of extraction, observation and a focussed scrutiny.

Diorama-page-001Diorama-page-002Diorama-page-003

 

These devices then inspired me to pen three fictional pieces, in which the Dioramas take the form of future planets.

In the year 3033 when the earth has been reduced to a carbon sinkhole and the atmosphere can no longer support human life. Mankind is forced to realise that humanity cannot exist on another planet within the Milky Way.

We will have to rebuild our own.

Emulating the model cities of the world, a team of brave scientists and explorers set out to locate the ideal part of space in which to build.

50 years on, the planets are ready for occupation, with the last remaining earthlings in desperate need to escape their failing planet, voyages commence to the potential relocation to a new galaxy.

These are the tales of three planets.

 

Planet 1: Periscopolis (Nostalgia)

A virtual realm existing within the mind to simulate the feeling of streets which have long been desolated by the development of high rises- Periscopolis reintroduces neighbourhoods and nostalgia. People live on ground level. Neighbours know neighbours. Periscopolis reintroduces humanity to itself.

An escapist construct. Retreating back to a simpler time.

Periscopolis uses the imagination to simulate memory and perception of the ideal.

What you want to see is reflected back to you.

You are sustained by the reality which your mind conjures up.

 

Planet 2: Rotundra (Our Present Reality)

Scene Begins.

The stage lights brighten to a dim to reveal a solitary feature. A bed with a man in it.

His eyes open.

He gets up.

Moves to the bedroom window.

(Now revealed to the audience)

|Hence forth a voice from above begins a monologue |

New neighbours.

New street.

System change overnight.

He must’ve missed the announcement.  The System is random, but the notice always goes out.

Everyone outside. Not yet used to this way of life.

Random. Spontaneous.

A forced change of perspective.

An old woman crying.

He goes to enquire.

“I live alone. Just made a friend 2 days ago.”- She says

Pity.

They’re gone now.

The system does not allow choice.

It can choose to remain stationary for years, allowing whole generations to remain in one place.

Or decide to change every 2 days.

The man, now facing the audience, speaks:

“I choose to live alone for this reason.

Why build attachment when it is temporary?

Why build a house, when it has no potential to be a home?”

End scene.

 

Planet 3: Concentrum (The Future Planet)

On the fourth day of every month you awake by the subtle sound of gears coming into motion. Followed by the feeling of the world spinning.

A mechanised planet, operating like an organic system of parts, each functioning at their optimum and running in unison.

This is what it feels like to live on Concentrum.

“Rotation!”—a call echoed three times over the speaker system.

Residents of Concentrum know that for the next 60seconds they’ll experience a slight disorientation, before the planet’s atmosphere re-calibrates and they can continue their ordinary practice.

“All clear! You may resume.”

At the heart of this operation are the nameless faces who control The System. Ensuring that every mechanised part remains in its place. Keeping the planet spinning.

There is no government here. The working class are the only class. Every organism on this planet operates to keep it running.  Every person is a part of the bigger whole.

Know thy place. Do thy work. The Concentrum modus operandi.

Democracy is found in the common purpose. Residents of Concentrum do not work for money, they work to live.

 

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