no.4 [dec-may 2018]
ctrl + z[ine]
a compendium of narratives
The Video - 3 - Laura Fox and Samantha Chow The Stare - 5 - John Nguyen and Khaled Megahled The Haunting! - 7 - Dimana Kolarova and Suhk Kang Their Meeting - 9 - Josh Silver, Julian Snider and Robert Lee The Telegram - 11 - Avi Odenheimer and Siri Hermanski The Lorem Ipsum - 15 - Oussama El Assir and Yasmin Al Sammarai The Lecture - 17 - Melanie Viger
3
Laura Fox and Samantha Chow
The Video
The Video VERSE 1 00:00 A brick wall remains still. 00:08 Two nuns walk stage right; long tracking shot. 00:16 An art collector and an interior designer scrutinize some art; close shot from shoulders up, which tracks quickly down to shoes. 00:20 An art student checks her phone; very fast tracking shot from shoes to face, then zoom out to get face and phone in the frame. 00:30 A woman is dancing and miming lyrics beside enormous ice cream cone; shot gets both fully in the frame. 00:40 Three enormous gold pugs stay in place against a blue background; wide shot. 00:45 CHORUS A crowd dances frenetically; extremely wide shot. 00:55 Woman walks down the stairs slowly and in a stately manner leaving the two people behind her; mid tracking shot. 01:05 An old man and woman gasp with hands over their mouths; close shot of their faces then very quick track downward. 01:10 A jogger talks to a friend returning from work; start with wide shot showing both of them then cut to one person’s face, then the other’s. 01:20 Two indie DJs groove to music; mid shot rotates around them, starting from the back. 01:30 Two business people walk towards a red blobby piece of art; wide shot. 01:35 A piece of art hangs from the ceiling; wide shot time-lapse over the course of a week.
4
5
John Nguyen and Khaled Meghaled
The Stare
The Stare
You remember this place. I think you have a photograph of it somewhere, the negative stored carefully in a plastic sleeve for posterity. Only you would know exactly where it could be found. You think this place could be from that hiking path, that one that cuts through a compound of abandoned bunkers with spiral metal stairs. You remember looking out through a slit window in the concrete, expecting more than just two shades of blue. I don’t remember where it was either, but those stairs are definitely evocative. You walk toward the stairs. You begin to climb the stairs, first lifting you left foot onto the concrete riser and placing all your weight there. Your right foot follows, twin gins through lay ears of muscle and fat contained within your leg. And now you continue the Al Gore rhythm of one-foot and another-foot up wards. You stop half way to list ends and hear the ecce homos of wind through the representative Titian above. The con created beams through whigh lite screams. The shadows blear at this low elevated shun, but Claire defies as you zee the top. Sea it but wear? It’s nou a kambo filging fletch acro ferthar dis-establishment erases as imp and trale mist. Zwinger elaphin ast semeral aration but perhable cenality crabbles as your penstacles volou and vecrilate.
6
7
Dimana Kolarova and Suhk Kang
The Haunting!
The Haunting! [Jonas is a ghost hunter who has yet to find a ghost. He has come to a newly open tourist attraction, a series of caves to investigate. The caves are haunted by Mimi, a ghost. Jonas cannot hear or see Mimi, but Mimi can hear and see Jonas, yet cannot talk to him. Curtain up on Jonas looking forlorn at the landscape.]
[crickets]
[Enter Mimi]
M: That rock? [Outrage] Its enormous! Do you really think I could carry that even if I was fully corporeal? Bah! [Turns away]
M: Ha! Another one of those ghost hunters to intrude on my relaxing death! Hello to you! Now leave so I may go along with my ghostly business.
J: Nothing…? I guess you might be having trouble speaking from the netherworld. J: Beautiful! Just Beautiful! These Maybe try moving somecaves really take your breath away! thing… like that rock over [Turns away from the cavern] there!
J: Yes! Georgeous! M: Who me? J: [Turns to the cavern again] Yes! The way the light glints and passes across… M: No! It can’t be me! I’m a wraith! J: The way you move in perfect arrangement…. M: How may I do that? I’d d-e-a-d! You know what that stands for? Directly Entering Anterior Death! Though, I guess you would’nt get the complex hierarchies in the sub-branches of the Death Ministry.
J: Huh! Still nothing. Guess its time to use The Box…. [Declaiming with extricating The Box from his bag.] Ok Mimi, this box might help you communicate with me. [Turns on box. It flips through radio channels quickly.] M: Oh no! Not this AGAIN! I guess I could say something and maybe he’ll go away. The Box: ----%^^()*%&%$@* ------- G---- O (&^&()-------)*&&%#$#@%^**---------- A—A----AWAYYY!!!-----------
J: [Takes out voice recorder and sets up video tripod clumsily. It falls twice, and he checks the equipment both times.] I guess it’s J: Woah! Fair enough! [Packs time…. Ok ghosts! My name is up, ashen and trembling and Jonas and I’m here to communicate exits stage right.] with you! I know one of you might be named Mimi so if you want to talk please say hello now.
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9
Their Meeting
Josh Silver, Julian Snider and Robert Lee
Their Meeting
…..from behind, along the metrosexual’s paramecium, this wholeness (the immanent re-solicitation arises as shorttermists turn from behind, along the mettle’s paramita, this whoop (the immanent resonance arises as shortcomings turn from behind, along the meupareunia’s paramour, this whoosh (the immanent resorter arises as shortgrasses turn from behind, along the mew’s paramyxovirus, these wop-wops (the immanent respect arises as shorts turn from behind, along the mézair’s paranephros, this word-hoard (the immanent respect arises as Shoshones turn from behind, along the mezlocillin’s para-nucleus, these wordings (the immanent resplendence arises as shotes turn)))))). Then, from behind, along the mezzanine’s parapet, these words: “There you are! I knew you would come!” The immanent response arises as shoulders turn. From behind, along Miami’s paraphrase, this workstudy (the immanent responsion arises as shovels turn from behind, along the miasm’s paraplegia, these workbags (the immanent re-stabilization arises as shows turn from behind, along the mib’s paraprotein, these workers (the immanent restaurant arises as showboats turn from behind, along the micelle’s parareflexia, these workhouses (the immanent restitution arises as showers turn from behind, along Michelangelo’s parascience, these workingwomen (The immanent restoration arises as showmen turn……
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11
Avi Odenheimer
The Telegram
The Telegram The curtain is down and the audience shuffles into the theatre below. Through a pair of opera glasses, Theobald Chettham, known as “Chetty” to his friends, looks down upon the prim crowd. All are top-hatted or fascinated; white-tied or chokered; tailed or trained with the most exquisite emerald green this side of the Mediterranean. “Oh Chetty! He’s about to start!” It really was he. The crowd erupts into applause, then cheers, then the most raucous tumult ensues as the curtain slowly rises. Below, an old admiral sweats under his excessive panoply if medals; a young man swoons; a woman looks through a pair of gold-plated opera glasses and a gaggle of fans push up toward the orchestra pit. An Orchestral vamp begins as the famous Jimmy Charleston himself saunters down the enormous spiral stairs in the stage’s centre. “Chetty?” He was still thinking of a perplexing telegram received an hour earlier and signed by the famous Jimmy Charleston. The song began: [verse 1] When you’re feeling blue (dum) And nought will come to you (dum) So alone, confused and overwhelm’ed (dum dum) You must compose yourself (dum) Retrieve paper and pen (dum) With these tools you’ll know just what to dooooooooooo (dum dum dum) [Chorus] Just send a telegram Just-send-a telegram to clarify your feelings (dum dum) Just send a telegram Just-send-a telegram and it will be just fine (dum dum) ………………… The song itself brought even more confusion to the situation as Theobald Chetham’s mind began to wander back to the mysterious telegram. His fingers began to fidget with said folded telegram as it lay deep in his pocket. Then, he perked up and quietly left the theatre, making his way towards back stage…….
12
15
The Lorem Ipsum
Oussama El Assir and Yasmin Al Sammarai
The Lorem Ipsum
On the mezzanine at Habitat Alpha-3: Original log-------“Ur sunt. Bis explaboria nostis ratiis qui nosandu cipsame ndella quos et, cus et ipsae non nimus sed quibusd aeptatium idunt et fugiatio. Accus si optatem alicimus ulliquia enihill aboreiciatur renimoloria corrovit quae quod quiat quistiis quist volore ni ut etusamusciur sit ulpa estrum, vendend anienihiciis eaquid magnitatis voluptatem essit expersp iduntore quidi que lab ipiendenisim quae. Et explit eius vitatur aut doluptam, velignatem dolor maximil ilique velibus ulparumet harunt.” Translation log------“You are out. Whom he has given to those who know how to explain Bora, not Sandu-cip,” Athena muttered as we looked out over the glass mezzanine guard. “Same… And Ella?” I inquired. I stood behind her as she looked towards the few figures present. “Twice.” “And these causes are not the vision,” I explained, “But to them you stepped at is an idiot and fugitive cousin of Hakkoz. It’s repaired, which means that if it’s obtained for Alice you’ll quietly enter Hill Arboretum, see her rendering Molorias, courier it, and use muscles so that it is not used elsewhere.” “Quiet…. Quiet,” Alice admonished me, subvocalizing now,” What I want to sell to the lab is iendenisim anienihiciis, liquid of great pleasure, indeed. That the things that happen expediate it is untoward.” “To fill you in,” I too subvocalizing, “ it has to be avoided, or do you know what Velignatem Maxim will iterate? Velib Ulparumet, the pain of this world….!”
16
The Lecture
17
Melanie Viger
The Lecture “… Here [slide changes] is a perfect example of a temple complex, though the image is but an artist’s reconstructionIf you all did your readings, which I know you did [chuckles], you would have seen a plan of this facility and an in-depth analysis of the various cultic dogma which influence the rituals we will be discussing. So! Let’s get down to it then!” [Slide change] “The entire site is 50 km2 and consists of densely-packed structures. M. Cannescu has outlined four types in which the buildings fall. Type 1 encompasses the shortest structures characterized by their honey-comb surface treatment. These would has housed the ‘Ascephelitic Amplifiers,’ themselves hooked into the ground-source via bicepherous connections and omni-bucolic cable. The Ascephelitic Amplifiers would, according to E. Valine, have taken up nearly the entire building with little room for priestly occupation and oversight. However, excavations of other similar sites have provoked questions concerning this thesis.” [Sip and cough and slide change] “Type 2 are characterized by flat façades devoid of surface crenellation. The continuous window openings allow light to penetrate only 1.5 metres into the interior, protecting the ‘Raithed Engines’ affixed in the buildings’ cores. These continuous windows show no evidence of glass, implying the necessity for aural connections between the Ascephelitic Amplifiers and the Raithed Engines. Furthermore, regular openings in the Type 2 core reveal that the Raithed Engines are, in fact, driven in their vertically constrained motion by the aforementioned amplifiers. It is further evident that priests occupied the surrounding space for prayer, though the possibility of public occupation is up for debate. [Slide change] “Type 3 encompasses living quarters and exemplifies the quiet, retired lives of its occupants. The disjoined squares housed both priests and the general public. Each room has a large operable window for their listening rituals. Every bed faces the window. The final type, Type 4, encompasses the enormous towers. These behemoths extend 100 levels above ground and 50 below, sitting on vibration damped caissons to produce ‘The Sound.’ Each was tuned in antiquity, see Valine’s papers that I deposited in the course folder for further theories concerning when that might be, and produces a symphonic accompaniment to their medidation…”
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