zbyněk baladrán cv

Theory of work

full HD video, 15’47, 2007

Starting point of newest film i found in one Czech architectural magazine, where was describes new headquarters of Czechoslovak business bank. This building represent global advance in the Trade. In the commentary was put emphasis to structure of this building like instrument to reform whole institution. It was formulation, which turn my attention to question, if if possible to thing by this way. It’s possible build house like instrument of reform of the institution? My research last three months was concentrated to this focus. The film is artistic result of it.


Script:

Description of the stage:
desk, chair.
B sits behind the desk.
background: simple dark.
the stage is bordered by a white background fading into shadow.

On the desk are a newspaper, notebook, paper, ruler, and pencil.
camera shots:
one entire view
detail of face
view of desk
view over shoulder
view of details on the desk.

shot of screen 1

Voice not in shot:
Testing one, two, one, two.
Ahem…Can you hear?
Can you hear?
listen.
pause
I hear.
I speak.
pause
It seems to be hard to get in the right position.
Ahem..
I am speaking for myself, but above all someone is speaking through me.  Now I don’t know…
It’s me, or it’s him.  I speak through him, or he speaks through me, in any case it’s a matter of getting into position.
pause
If somebody plays a role, of course he assumes that others will take his performance seriously.  He wants them to be convinced that the character standing before them is truly the bearer of what others see therein.
On the stage are three characters marked A, B and C.
At this moment A is speaking:
pause
Beginning of the instructional film:

view of entire stage. B sits on the chair behind the desk.
cut,  entire shot of B. Camera zooms in on B or shot of the whole scene/cut/detail of face.

Voice out of the shot:
It is presently little known that one of the oldest sciences in the world is the determination of the qualities of individuals according to exterior features, such as the shape of the face, head, nose, ears, eye color, wrinkles, freckles etc.   Today this discipline is so advanced that it is able with uncommon precision to determine using one half million physiognomic features all 43,000 character traits and provide a complete medical diagnosis.  These features allow for the determination of each person’s optimal occupation and ability to work and cooperate with others.
pause, the camera remains on B.
cut, screen 2

Voice outside of the shot:
On the fourth floor there is a large room with furniture divided into square sections measuring 270 cm x 270 cm.  On one side of the room is a long window looking out into an atrium.  In the middle of one section is an office desk.  One the desk next to a computer is a small diary.  Behind the desk sits B.  There is knocking at the door.  Through the door comes C.  She is dressed in a dark blue outfit.
C comes to the desk and greets: Good day.
B gives no greeting: Did you bring the papers?
C (visibly nervous): I don’t have them, I just wanted to tell you something.
B: But quickly, I have a meeting.
C begins: Look.  We’ve been working together for three years and I’d like a promotion.  I’m qualified.
B: Miss C, we’ve talked about this several times.  I’m open to changes and naturally I support the professional growth of my colleagues, but you know very well that the proceedings…
C (interrupting):… yeah right, the proceedings.  You have turned that into an implement of power.  You are at the head of all the proceedings, and it is you who gives me the thumb down every time.
B: I’m not sitting alone on the commission, there are five of us, it’s not up to me.
C: You’re making excuses, what do you have against me?
lights out
detail of head, a rustling noise, newspaper being read which can only heard or seen in detailed shots.

Voice outside of the shot:
Every reform must begin at the most elemental level of employees.  We have several options: transfer them, fire them, re-qualify them, or promote them.  These are the options within the system.  Assuming that the existing institution cannot be destroyed or abolished.
no no no no no, that’s nonsense…

crosses out text
pause
The main movement of modernization is grounded in an ethos of innovation, continual movement, learning from mistakes and correcting them.  Rationalization, which is conscious of its momentary limits but believes in rectification, in the future.
no no no no no, that’s better, but no…

crosses out text
The institution must be destroyed…
begins to bite nails
destroy…
hmm
A proper institution which cannot be destroyed by anything?
lights out
detail of head, looks at newspaper:
I’m reading here: It’s a strangely all encompassing tradition, everything here is based on a collective ethic and pervaded with social justice, and not long ago there was an additional current prioritizing individuals in a liberal environment, limited by the ethic of capital.
he sets down the newspaper, props up his head and stares into the distance
lights out

cut, shot of screen 3

Voice not in the shot:
B writes a letter and exclaims out loud:
Dear mother,
I’ve been living here in P. for two years now and I just can’t decide…
There is knocking at the door
Come in says B.
A says: I brought you those papers you needed
B answers: yeah yeah thanks, put them on the copier please
A: hmm, (pause) what do you think about that restructuring plan?
B: I’ve already said that I support innovative solutions, that’s what business is about.
A (plotting): well I only… just between the two of us… hmm?
B : noooo (pause) we have a better office, a pleasant modest work environment, we can better meet the needs of our clients, effectiveness, flexibility, growth…
A (disappointed): I was just thinking about the noise ….
B: what noise?
A: you can barely hear it, that batada batada batada
B: what?
A: listen….
They both listen
B: I only hear bat da bat da …. and that’s just because Miss C was walking by the door.
A: no, not that, the noise behind it, in the background…
B (contemplative): the air conditioner? the hard disc? I don’t hear anything else.
A (sadly): no not that, can’t you hear it?
lights out
pause

detail of head

Voice out of the shot:
pause
I am speaking alone by myself
That is
Space behind
space before
space beside
space above
space below
space between
space in
space within
pause
The foundation of modern trends of commercial construction is the creation of a  “monospace” broken up only by the arrangement of furniture and partition walls for individual workspaces.
If I draw a square and give it a measurement, it becomes the basic unit.  Squares can be repeated, creating infinitely large structures.
Within each unit there are basic relationships, for example between A and B.  draws a square in the notebook with a marker.
A square measuring 270 cm x 270 cm calculated according to general typological theories.
he stops short
Thus gives rise to the basic unit of the work machine.
The relationship of A and B, perhaps C, is irrelevant, it merely must be optimally tuned, in any case it must be loyal to the institution.

shot of an unfolded paper with writing, Or of the desk with a hand placing the sheet of paper.

Voice outside of the shot:
I found this paper in the lounge, folded twice and shoved under the leg of a table.  I don‘t know what to make of it.
pause
Newer show any initiative.
Never overexert yourself.
Always speak second.
Answer in no more than four sentences.
If somebody tells you something is the case, it probably is, if he is the only one  to make the claim, don’t believe him or play stupid.
Decide the way the majority decides.
Find someone you can take your anger on.
(Make sure other people have chosen the same person.).
Laugh at what other people laugh at, only louder.
Focus on what’s near you, ignore things that are far off.
Arguments with acquaintances are pointless.
Try to be invisible and don’t go out much.
Don’t complain.
lights out
pause
Shot of screen 4, It is animation.  Each point appears after the reading of a sentence.  After the last of 15 sentences, a right triangle appears.

Voice outside of shot:
I have here several innovative observations:
optimal work environment
openness of all systems and structures
high flexibility and future innovation
abandon the dogmatism of standards
balance and harmonization of contrary factors – a synonym of the concept of ecology
abolish perpetually inert habits
dream of rediscovering the basic unit of the human being
meaningful work in the modern age
dimension of variability and transfiguration in time
competent assessment and continual rectification
quality control parameters
feasibility
verified (non-provocative) subtle and timeless design
easily replaceable and complementary components
work with human capital

shot of B. Detail of face.

Voice outside of the shot:
But let’s get back to me.
I think that today, work has primarily an aesthetic significance.
pause
Work has aesthetic significance.
We may shade choreography with simple movements….
pause
Let us say that the most serious risk we face is none other than the side effects of our responsible behaviour.
pause
Then we must again think things over using valid conventions and the foundations of rationality.
pause
Every action …

Cut. Shot of screen 5, which is again animation.  It is comprised of six pictures.  The first one appears which then pushes the second picture out from right to left.  Then the third picture etc.

Voice outside of the shot:
In the room there is only one desk and chair.  Meeting on the stage are figures marked with the letters A, B, and C.  The letter always represents the current position of one of the three figures at predetermined locations.  The locations are: behind the desk, in front of the desk and next to the desk.  The situation has six variations, while the position of letters changes in a clockwise direction.  The scene changes whenever A speaks.  The figure marked A is always in view of the camera and thus the spokesperson.  When he is in front of the desk, he is only speaking to the person behind the desk.  When he is next to the desk he is speaking to the remaining two.  The figure sitting behind the desk which is not A always has a better negotiating position than the other two, even if he is not a spokesperson.  The figure standing beside the desk is only third in the more important relationship between the figures in front of and behind the desk.  In the event that a figure is marked B, and soon thereafter is marked A, then he always answers a question.
The voice falls silent at the moment the last screen disappears stage right.

End.

Randez-vous nowhere

exhibition, Monterhermoso, Victoria, 2008