Cornelia Parker got the army to blow up a shed full of stuff and then hung the shards from an art gallery ceiling.
- Adam Curtis‘ experiments with archive video footage demonstrated persuasively how we’ve lost confidence in the veracity and validity of smoothly packaged news bulletins.
- Mark Stevenson berated us for losing faith in a bright human future.
- Martin Parr documented the vanished minutiae of a Northern English mill town and analogue studio photography.
- Karl James gave voice to families thrown off balance, one by childhood leukemia, another by rape; and to children who felt written off by their teachers.
- Lucy Kimbell dissected her own sense of worth and wellbeing to create ‘Audit’ and the LIX Index.
- Players armed with toy guns blew apart Mary Hamilton‘s carefully constructed live action role play set pieces (though she didn’t seem to mind so much).
- Matt Adams reduced teen pregnancy to 100 or so text messages scattered across seven days, while Phil Gyford is dicing 10 years worth of Samuel Pepys’ diaries into Twitter-ready chunks.
- And with all those cats just a click away it’s no wonder Graham Linehan‘s attention span is so shot through that he hasn’t read a book in six months.
These things are not stories but snapshots, vignettes from, as Curtis put it, our age of “emotional realism”.
If there was one disappointment today it was that we were denied any straightforward, spellbinding storytelling performances, as delivered by Tim Etchells, Cory Doctorow and David Hepworth at last year’s The Story.
Fortunately, while none had the full prescription, some of the speakers did offer tantalizing hints of how the frayed and shredded fragments of stories that surround us might be woven back together into a genuinely new genre for our age.
I’m not sure what it looks like but I think these are some promising elements:
From our repertoire of emotional realism, I think we can keep and work with the heightened sensations:
- the arresting visual image of the Maldives Cabinet meeting underwater
- the excruciating 19 seconds of silence while the father of a sick child composes his thoughts
- the details you only spot when you study the news from Helmand uncut.
Add to that the data exhaust of a billion mobile phones taking readings and measurements for a super-charged, real time LIX Index. And as for adding a soundtrack to e-books, whatever next, talking pictures?
Adam Curtis’ diagnosis of the need for a frame, for a less starry-eyed appreciation of power in the Internet age is spot on. One can detect this re-framing implicitly in Cornelia Parker’s work too.
But with this frame in place, we can safely build on the wonderful things that happen when storytellers open up the process and let their “audiences” in on the shaping of the story:
- At least half the wordcount in Blast Theory’s ivy4Evr came from recipients of her texts responding and talking her through the issues as they themselves might experience them.
- Mary Hamilton’s Zombie LARP “story machine” solidifies stories by institutionalising “froth”, the over-excited re-telling of events that follows inevitably from a successful live action role play happening.
- Pepys Diary on Twitter has attracted a 14-strong menagerie of other characters spontaneously responding to his tweets.
And now @glinner uses project management software to co-write the IT Crowd with a small group of hand-picked Twitter followers. I loved the idea that he could go away for a week and return to find that “the stories accrete like coral” around the provocations he has sewn on Basecamp.
When I made ‘1794: A Small Story‘, I got an inkling of what happens when you put fragments out there, unfinished, joined to the web. Now I’m inspired to make it more sensation-al, more social and more savvy about the undercurrents of the sea in which it swims.
Also, Monsters! Made of people!
More discussion of The Story 2011 on Twitter.