Pluriversal scenographicsand staging world feelings by Rachel Hann.
2024
"In practice, this means the task of design is to ‘unfold the political capacities of design by going against the analytical tendency in critical design studies to examine primarily how design through its very materiality, “hard-wires” particular kinds of politics into bodies, spaces, or objects’. Escobar has argued that concepts of ‘the World’ as singular and definitive stems from a historical narrative, which positions the Global North as the centre of humanity’s intellectual and cultural growth.
Contemporary media are the most effective purveyors/sellers of the OWW vision. Pluriversal communications strategies would serve two main purposes: to construct narratives that persuade people into thinking about why the One-World story no longer quite makes sense; and to contribute to make visible the projects by which other practices attempt to persevere and perform themselves into worlds (including social movements)".
"Pluriversal approaches seek to acknowledge and ‘make visible’ multiple ideas of world that co-exist and thrive with one another."
"Belongingness, isolates how scenographic encounters ‘irritate’ the typical flow of relations in a certain place and time. Borrowing from Alan Read’s idea that performance acts as a ‘foreign body, as a third person, always at odds with those things upon which it does its work’, I frame scenographics as ‘hypertrophic’ (relating to an increase in size, structure, or function) insomuch that they tinker, reshape or reorientate the traits of a place."
"Edward Soja outlined how a thirding of the ontologically (study of being) real and the contrived (deliberately created rather than arising naturally or spontaneously.)the authentic and the inauthentic, has been conflated (combine (two or more sets of information, texts, ideas, etc.) into one.) in a contemporary culture of ‘real fake’ environments: We no longer have to pay to enter these worlds of the “real fake” for they are already with us in the normal course of our daily lives, in our homes and workplaces, in how we choose to be informed and entertained,
in how we are clothed and erotically aroused, in who and what we vote for, and what pathways we take to survive."
"Instead, I argue that scenographics are a collection of place orientating traits that irritate flows of place and, in turn, manifests felt intensities of being placed (as in feeling out-of-place, askew or favourably in-place). This is not to suggest that scenographics are separate from everyday experience, on the contrary. From the stage-like qualities of a garden to the use of scent in visual merchandising, scenographics amount to the techniques and processes through which scenes (as assemblages of feeling and materiality) are performed".
"Performances of world are not to imply a strict contrivance (fake, unreal,
fictitious) – to which I would assign the theatrics of world – but instead how cosmological orienta-
tions and assumptions are uttered into being through cultural systems (media, stories, language)".
TANJA BEER ECOSCENOGRAPHY
An Introduction to Ecological Design for Performance
2021
"Ecologically engaged practice is less ‘a vision of self-expression and more about creating the conditions for change to occur’ (Ariana Jordao in Allen et al. 2014, 22)".
"There is a sense in which these artists put themselves in a position where they can be ‘acted through’. The artist then becomes spokesperson, agitator, mediator, medium and, in some cases, healer…These artists tend to mix more with scientists, builders, economists, energy specialists, farmers and future scenario planners than with the peers they might have trained with…they are fluid and flexible and their activity either suggests adaptive changes that re-establish equilibrium or creates a new order…This demands a great deal of risk-taking and trust in imagination…an ability to with-stand oppositional points of view, uncertainty and transitional states.(Allen et al. 2014, 27–282)"
frightened to celebrate dwelling, voicing, and practising the hitherto (until now) politically impossible act of withdrawing from unhealthy cultures of pro-ductions without futures".
"CELEBRATION"
Combining interests and common topics within a performance/scenographic installation which can link, connect and surface similarities or a sense of relatability for familiar and unfamiliar topics.
"AFTER-EFFECT"
Could people be permanently affected by a cultural/art event that will create an after effect of more understanding for one another.