update #34
the scenario of acting
this text is a first description of scenarios of acting as future work of stordes. work for organisations to overcome the comfortable straightjacket of predictability.
scenarios of acting as a means to continuously frame signals and influences into meaningful traces in the ‘umfeld’ of an organisation.
art as organisation.
the text was conceived for the serious fest to celebrate 20 years of stordes.
the acting
The acting concerns what happens in an organisation, that formal cooperation between people with an intended relevance in its ‘umfelt’. It can be about an infinite number of things: from meeting to motivating, from pushing to pulling, from calculating to brainstorming, from writing to watching, from reasoning to feeling. Yet the acting implies a choice. It is always specific.
The acting is something different from doing and it is not the same as behaviour. Doing misses the intention of acting while behaviour is more abstract and more general than acting, less precise.
Acting suggests a deliberate will. At first it has a certain sense of a specific purpose to realise things or to have things realised. The acting as leverage.
However the acting does not limit itself to a goal. In the acting a manifestation of intent, of opinion and resolution becomes visible and palpable.
The acting is aimed at possibilities and has at the same time an open end. It is not predictable, it reacts, it mutates, it dies, it ignites. The uncertainty of the precise acting itself and the uncertainty of the outcomes of the acting, that is where the struggle lies, the irrevocable contradiction, the beauty.
The acting is an amalgam of doing and initiating, of sitting on your hands and making noise, of asking and answering, of play too. It is not turned inward, but it is directed to the outside, to what does not yet exist. In the end the actings exists to leave traces.
This description is not acting, the writing of it is.
the scenario
The scenario is about exposing people to something through the acting, about the experience, what is evoked in someone.
The scenario is not the acting. It tells something about the acting, concretely, specifically and efficiently.
The scenario is about image, the example, the interpretation by others. It provides a picture of the staging, defines the players and the audience, it tells something about the instruments. It determines the dynamics, the timing and the tempi. The scenario defines a context, as it exists and as it is shaped and reshaped by the acting. And describes how one moves in that setting.
In the scenario details are highlighted and crucial elements enlarged.
The scenario is man-made, it is a results of conscious creation.
It has content and form, it is both open and closed. Just openness, complete laissez-faire is in this sense no scenario.
The scenario can be long and extensive, but also very concise. It can contain multiple sequences.
References and interventions are important components in the process of research and design.
The scenario is about something else than directing and managing, about something else than predictability and control, results and returns. It is about forms of organising and acting beyond the current logic, about transgressing patterns, about the new, the not yet seen.
The scenario is always set in a specific organisation with its position in the world and as a social space in itself.
art as organisation
The desire for the promise of the unusual, the curiousness about the not yet existing, the aspiration to create. That is the starting point of the acting, in the sense of art as organisation.
The scenario of acting exists in a critical context, nurtured by desire and disgust, resentment and wonder, ideals and disillusion, hate and love. It is probing, oneself, others.
Thinking, the acting, experiencing it, are connected in an endless cycle. The scenario of acting is in that sense just a temporary occurrence of a to be materialised desire.
The scenario of acting starts formless, matter-less. it is still vulnerable. Images and language begin to emerge as carriers of thinking and acting. In an iterative process the scenario is sharpened, condensed, refined.
The scenario of acting has intrinsically something large, however small it might be. It is always about content, without it only form remains. It is always unique and specific.
A distinct title reinforces that.
finally
The scenario of acting as the format of future work of Stordes, the merchandise in the shop-window, with, as ultimate outcome, art which manifests itself as an organisation.
That work will raise questions. It has to, what is art without raising questions? However the work also carries a promise, a promise of the banality of good.
The work will develop. Although the first traces of the work are already visible within some organisations, the concepts and the work will evolve.
The work is to become tangible. That is inevitable, for it to exist. The outcome of the scenario is after all always part of the reality of a specific organisation.
the images come from the books of drawings
chines ink on paper,
30 x 42 cm (closed) , 42 x 60 cm (open)
no 1, 3, 11
mijn zien weerspiegelt in jouw kijken
(my being reflects in your watching)
no 5, 7, 9
a love for ordening discontinuities
photo’s by hein duijnstee