CINEMATIC
LANDSCAPE
EXCHANGE
Title: Herod Atticus Yard
Name: William Litré
Voiceover: Stuart Croxford
Sound: Various
Scream, dig, jump, overturn.
Things need to go somewhere and by things, I mean exctractivist machinery, ending its functional lifespan. What use does this mound of welded metal have upon displacement from its offshore platform or surface mine site? Where does the binary lie between usefulness of an act and uselessness of its architectonic objects, the play between the ludicrous discrepancies of scale and the reality of their monstrosity. Set in the phatic landscape of the Isle of Mull, this yard, a theatrical repository for these distant unseen mechanistic structures, home to the cortege decommissioning navigation trails proposed, evolves in the archetypal form of its suggested landscape, an amphitheater. In the heart of this mechanized dominion the amphitheater remains a place, it is essential because it is useless, and concerned with the dual phenomenon of seeing and hearing, where the line between audience and performer dissolves. The
amphitheater which is both stage and spectator.
Scream into the landscape. Wailing at the unresponsive basaltic rock; the buzzing of the ears, the running nose, the bitter mouth, a torsion of ones muscles folded up and its tumultuous possession of mud by the feet, landscape does not respond.
Dig a hole.
Jump. Wherever.
Name: William Litré
Voiceover: Stuart Croxford
Sound: Various
Scream, dig, jump, overturn.
Things need to go somewhere and by things, I mean exctractivist machinery, ending its functional lifespan. What use does this mound of welded metal have upon displacement from its offshore platform or surface mine site? Where does the binary lie between usefulness of an act and uselessness of its architectonic objects, the play between the ludicrous discrepancies of scale and the reality of their monstrosity. Set in the phatic landscape of the Isle of Mull, this yard, a theatrical repository for these distant unseen mechanistic structures, home to the cortege decommissioning navigation trails proposed, evolves in the archetypal form of its suggested landscape, an amphitheater. In the heart of this mechanized dominion the amphitheater remains a place, it is essential because it is useless, and concerned with the dual phenomenon of seeing and hearing, where the line between audience and performer dissolves. The
amphitheater which is both stage and spectator.
Scream into the landscape. Wailing at the unresponsive basaltic rock; the buzzing of the ears, the running nose, the bitter mouth, a torsion of ones muscles folded up and its tumultuous possession of mud by the feet, landscape does not respond.
Dig a hole.
Jump. Wherever.