Almond Paste Molder
Roof Painter
Vacuum Cleaner Repairer
Tool Sharpener
Greenskeeper Laborer
Banjo Repairer
Bathhouse Attendant
Flight Communications Operator
School Social Worker
Pharmaceutical Salesperson
Internal Auditor
Payloader Operator
Video Rental Clerk
Pottery Kiln Builder
Digital Imaging Technician
Network Technician
Joint Terminal Attack Controller
Mobile Home Mechanic
Bar Back
Underwriting Clerk
New Accounts Banking Representative
Division Officer, Weapons Department(Guided Missiles)
Aoc Operations - Defensive Operations Officer
Furniture Arranger
Life Insurance Salesperson
Radiation Therapist
Mural Painter
Child Welfare Worker
Wood Furniture Assembler
Unexploded Ordnance Quality Control Worker
LNG Plant Operator
Small Animal Veterinarian
Courtroom Clerk
Senior Naval Parachutist
Correspondence Representative
Plant Scientist
Highway Maintainer
Drywall Hanger Helper
Safe and Vault Mechanic
Electronic Publishing Specialist
Political Reporter
Log Check Scaler
Assembly Line Driver
Dog Food Shredder Operator
Casino Dealer
Loom Technician
Acoustic Sensor Operator
Air Boatswain
Residential Building Inspector
Baseball Umpire
P-3 Armament/Ordnance Ima Technician
Special Warfare Operator
House Wirer Helper
Hotel Operations Manager
Staff Submarine Warfare Officer
Stereo Equipment Installer
Exploration Geologist
Quarry Plug and Feather Driller
Casino Floor Runner
Embroidery Patternmaker
Office Secretary
Botany Professor
Hematology Technician
Water Treatment Technician
Heat Treater Apprentice
Pharmacy Assistant
Production Control Coordinating Clerk
High School Vocational Education Teacher
Surgical Physician Assistant
Hotel Supplies Salesperson
Operations Officer, Afloat (Naval Tactical Data Systems)
Window Trimmer
Lime Filter Operator
Division Officer, Weapons Department (Antisubmarine Weapons)
Au Pair
Jewelry Repairer
Logging Truck Driver
Visual Designer
Special Education Curriculum Specialist
Floral Artist
Radiological Control and Safety Technician
Organizational Research Consultant
Oil Drilling Engineer
Activities Assistant
Slitter Helper
Licensed Private Investigator
Actuarial Associate
Home Hospice Aide
Personnel Manager
Gifted and Talented Student Education Aide
Precision Machinist
Computer Repairer
Jig Bore Tool Maker
Fuel Truck Driver
Orthodontist Assistant
Drywall Installer
Combat Direction Finding System (An/Srs-1)Operator
Institutional Commodity Analyst
Arcade Attendant
Corporate Attorney
Wildlife Biologist
Marine Air Ground Task Force (Magtf) Planners
Sociocultural Anthropology Professor
Portrait Painter
Honest John Rocket Crew Member
Stage Technician
Podiatric Aide
Lobby Attendant
Lawn Caretaker
Travel Service Consultant
Childcare Worker
Debt Management Counselor
Environmental Protection Forester
Certified Industrial Hygienist
Overhead Door Technician
Banquet Chef
Applied Statistician
Marine Pipefitter
Rug Designer
Nuclear Engineering Technician
Ballet Professor
Diabetes Educator
Massage Therapist
Orthodontic Assistant
Training Coordinator
Airport Ramp Supervisor
Lien Searcher
Trolley Car Overhauler
Trim Saw Operator
Marine Drafter
Aerial Gunner
Zoology Professor
Computer Systems Consultant
Climatology Professor
Petroleum Plant Operator
Marine Biologist
Dredge Mate
Torpedoman's Mate
Braille Proofreader
Machine Welder
Fire Operations Forester
Subway Car Repairer
Silviculture Professor
Electric Sewer Cleaning Machine Operator
Stained Glass Installer
Pole Framer
Chemical Engineering Professor
River Expedition Guide
Carton Making Machine Operator
Electric Powerline Examiner
Hatchery Worker
Loan Processor
Pageant Director
Home Mortgage Disclosure Act Specialist
Actor Understudy
Mutuel Teller
Motor Grader Operator
Commissioner of Internal Revenue
Combat Direction Finding System (An/Srs-1) Operator
Pension Examiner
Kosher Butcher
Savings Teller
Tattoo Artist
Armor Reconnaissance Vehicle Driver
Gunner's Mate
Inventory Control Clerk
Shellfish Dredge Operator
Electrocardiograph Operator
Automobile Refinisher
Antisubmarine Classification And Analysis Officer, Aviation
Jewelry Polisher
Masonry Instructor
Pecan Gatherer
Budget Examiner
Oil Burner Repairer
Community Service Organization Director
Operating Room Technician
Certified Occupational Rehabilitation Aide
Sales Clerk Supervisor
Motion Picture Operator
Production Control Technologist
Rope Machine Setter
Agricultural Research Engineer
Computer-Aided Drafting and Design Instructor
Human Relations Professor
Network Support Manager

2 tons of opium powder

1 ton of cocaine

1 ton of peyote

1 ton of hashish

1 ton of marihuana

100,000 tons of rice

100,000 tons of sugar

100,000 tons of coffee

100,000 tons of cocoa

100,000 tons of cinnamon

100,000 tons of garlic

100,000 tons of oil

100,000 tons of buck-wheat flour

100,000 tons of bananas

100,000 tons of dates

100,000 tons of tuna

100,000 tons of hazelnuts

100,000 tons of walnuts

100,000 tons of figs

100,000 tons of manioc

100,000 tons of Muscat grapes

200,000 tons of pistachios

100,000 tons of chickpeas

100,000 tons of almonds

300,000 tons of rats to stuff the beef, the veal, the lamb, the giraffe, the camel

300,000 tons of mussels

300,000 tons of oysters

300,000 tons of snails

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[37] Weight of the World

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1. A double bed. Fully made. 3d-models/max-malm-bed-ikea/728986 or thereabouts – 1:1 scale.
A roving, hand-held spot light finds the bed as it Drops at full speed from the top of the screen. Spotlight can accommodate the whole bed, trying to keep up.
Bedclothes trailing; pillows and duvet slower, etc. Different velocities for different materials.
Passing through the CENTRAL THIRD of the screen, the bed slows to a something that feels like 240fps or thereabouts. This is pretty much identical to the iPhone’s slo mo, including the ramping from full- to slow-motion and back again.
As the bed exits the CENTRAL THIRD, it ramps back to full-speed.
Sound of rustling sheets; whoosh of air; SFX accompaniment of ramping temporality.
Timing is hard to judge for this, but the slow- motion part should last about, say, 5 or 7 seconds. The other speeds are based on getting the thing to look like it’s dropping at a proper velocity.
Enters at full-speed
Crashes to the floor, right-ways up, on its feet, if awkwardly.
Bedclothes fall after it. Sheet billowing down somewhat.
Everything moving and reacting with material accuracy as much as possible. Nothing too gratuitous.
Loud SFX; nothing non-diegetic.
Timing of the action is hard to judge, being dependent on speed of fall.
PAUSE 15 seconds
>>The spotlight should run throughout this whole piece, a kind of human presence, flexing to an appropriate size. For multiple objects, the spotlight searches about a little.
I guess this is something to try. Might be *far* too much.
Each item should drop close enough to the back wall to cast a shadow.
Othewise, a different, generally front-on lighting state for the top screen. <<
2. Soil. Dark, dank soil to partially bury the bed and begin establishing the mound. A pour becomes a DUMP of soil, as- if, finally, from a truck. 1:1 scale
A trickle turns into a full *collapse* of soil. Not sure how this will look – how a huge amount of soil falling looks... Spotlight rather pointlessly picking out an area of the falling soil.
No slow motion in here, just falling through the space. Probably some mounting sub to connote the amount of soil. A roar of SFX.
No dust, as damp?
Hard to say, but something like:
10 seconds of a pretty solid trickle. 3 second cessation
5 seconds of vast amount
Trickle onto the mattress, pillows. Nice mattress gently thudding.
Then, a deluge with, presumably, all the audible overwhelm of a landslide.
Reverb good for the rush of silence after this fall.
Timing pretty much following the above.
PAUSE 15 seconds
3. Four double-sized white sheets. To land draped over the soil, the bed. 1:1 scale
One sheet after another enters from the top, drifting as-if caught on a somewhat supernatural breeze.
Nothing too ridiculous, just serene, billowing. Sounds to go with. Fluttering and flapping. They interweave one another, dance a little.
Again, the shot should SLOW to a near pause in the middle.
The slow-mo part, again, around 5 seconds. The other parts should be as long as it takes. Zig-zagging?
They enter from the top, one at a time, zig-zagging slightly, coming to a rest on top of the mount, in a satisfying billow. Overhanging at the front
Timing as it needs to be.
PAUSE 3 seconds
4. Orange juice. 20 gallons or so? Easier said as a measurement of time pouring. See below. A slightly oversize tetra pack carton thing emptying an unholy amount of juice in a slugging stream, then dropping after the liquid once emptied. box-3d-3ds/1017336 Like, twice the size of normal?
Carton drops full-speed, then slows to the centre, but not like slow-mo, but as-if levitating, a little swaying, the cap unscrews and it begins to empty its contents down. Liquid falls full-speed. Sounds of sloshing to connote correct viscosity, cardboard sounds, steadily hollowing.
Fall, unscrew and pour, something like 15 seconds?
Then carton follows, dropping after.
Liquid pretty consistent flow, swaying a little, perhaps little splash, but mainly soaking into the white sheets, the soil. Bleed of orange juice on sheet? Petering out to drips, then carton unceremoniously follows and bounces off. Splatter, sloshing sounds, etc.
Timing as above
PAUSE 5 seconds
5. Step ladders. Two step ladders to land open, juddering, feet first, straddling things somewhat, contributing to the shape. One step ladder then the next. https:// –– colour variation, perhaps. 1:1 scale
One ladder drops, turning, open, hits the centre slow- mo area, then exits
Pause of 2 seconds
Second ladder follows similarly, not open, not copying the same angle or rotation of fall.
SFX of metal; the kind of *shing* sound that metal wouldn’t make, but foley might add.
First ladder 3 seconds in slow-mo; other timing according to terminal velocity Pause of 2 seconds
Second ladder same
First ladder enters at full speed, hits jarringly on both legs, maybe a little rock or whatever, straddling things. Then the second ladder hits unopened, then opens with a clang to settle opened. Clang and clatter SFX
Timing as above
PAUSE 10 seconds
6. Jeans. 100 or so pairs, draping over everything 1:1 scale
Dropping scattered, full-speed, flailing and flapping a little. Released and dropped irregularly, sort of sprinkled. Depending on how fast they drop at real- time speed, perhaps it needs some slo-mo to highlight them, paused like rain. Deadening of sound by fabric, slight ruffling sound, perhaps even some sound to report the rivets.
Let’s say they’re released over a period of 20 seconds or so
Perhaps slo-mo when the screen has jeans at every height, the whole screen slows for 5 seconds.
All real-time, they land like leaves, draping to more or less clock part of the mound. Gentle fabric sound, heavy, definitely the occasional barely there sound of the rivets.
Timing as above
PAUSE 5 seconds
Dropping like the jeans, irregular, sprinkled, not just in the centre, but to span the screen.
As above: Let’s say they’re released over a period of 20 seconds or so
Perhaps slo-mo when the screen has bricks at every height, the whole screen slows for 5 seconds.
All real-time, they land like with a crash, dust where appropriate, settling wherever they land? SFX very loud.
Timing as above
PAUSE 10 seconds
8. Ship’s anchor and chain. Massive, like from a battleship or something. Chain following anchor, both unbelievably heavy. model-1315100 or something Huge.
Plummeting straight from the centre top, slo-mo in the middle, chain should perhaps be a little *too* long. Metal released SFX, low sub sound, perhaps chain slightly speaking against itself.
Again, slo-mo for 5, but the rest dependent on how fast something like this falls.
Drop crazily fast and presumably doing some pretty catastrophic damage. Plenty of kicked up stuff. Massive crash SFX.
Timing as above, etc.
PAUSE 20 seconds –– lower screen waiting much longer.

9. Books. As many as the duration calls for. –– but to be honest, I’m not sure how this would be possible, inasmuch as the pages flapping about seems a problem. Thoughts welcome. 1:1 scale
Scattered like the jeans, only more so. More like it’s raining books. Starting in slo-mo, the books fall slow, entering at the top all across, with a concentration in the central area where the mound is. Slo-motion drift, falling, pages riffling, spinning... Fluttering page sound, creak of spines, all the gratuity.
Slo-mo from the start, lasting till the first book gets to just near the bottom. Unless that’s a crazy amount of time.
Then real-time raining books for 10 seconds.
Raining books. Bouncing off things, settling to contribute to the mound. Flapping sound, hard hits, soft, card hits.
Timing as above, etc.
PAUSE 5 seconds
10. Red wine. Like with the orange juice, central levitation, cork removed and wine pours out. Once emptied, barrel and cork fall. 1:1 scale
Barrell drops full-speed, then slows to the centre, but not like slow-mo,but as-if levitating, a little swaying, the cork pops out and it begins to empty its contents. Liquid falls full-speed. Familiar slug of wine; satisfying squeak and pop of the cork. Hollowing wood sounds. Slight creak.
Fall, pop and pour, something like 15 seconds?
Then barrel and cork follow.
Liquid pretty consistent flow, swaying a little, sloshing about, getting on everything, darkening most things. Petering out to drips, then cork tiny, bouncing, then the barrel *crash*. High splatter, then the hollow wood report of the barrel hitting, rolling, whatever. Crack.
Timing as above
PAUSE 5 seconds
11. Feathers. A huge cloud to ‘feather’ the mound. Like 1:1 scale
Raining again, a few at first, then a great cloud. No slo-mo, all real-time. Deadening the acoustics, removing reverb a little, perhaps a very slight high *fluff* sound.
Hard to judge this, timing-wise. Quite a while.
Feathers ‘feather’ the mound. Barely audible *settling* sounds
Timing as above
PAUSE No pause.
Falls central, with slo-mo- part in the middle. A little of the fabric and wood in air movement sound.
5 second slo-mo as per.
Crashes onto the mound, sending whatever loose feathers up and anything else that’s loose and light. *Duff* of fabric, cushions; crack of wood.
Timing, at this point, for the bottom screen, is per terminal velocity, not really requiring description
PAUSE 5 seconds
13. Coffin. One full-size coffin; the lid follows. 1:1 scale
Drops centrally, at an angle, minor rotation or something. Lid loose, starting close to then falling at a slightly different speed according to guesstimated weight. Low whoosh. Maybe slight supernatural quease SFX.
5 second slo-mo centrally
Crash to the centre. Lid slightly after. Split wood, soft wood and clatter sounds.
Timing as above
PAUSE 10 seconds
14. Milk. I think refer to the wine and the orange juice, generally. these are nicely weird. I’m thinking the largest. Glug glug, plastic hollowing
PAUSE 5 seconds
15. Dining table and chairs. This one is suitably horrible: 1:1 scale
The table and chairs sort of drop together, with a little random scatter, angles, etc. Whoosh of air
5 second slo-mo centrally
Crash to the centre. Perhaps attempting to land feet first-ish. Awkward hard hit of wood, a little crack, split sound.
Timing as above
PAUSE No pause
16. Crockery. A catering-company’s worth. Hundreds of white plates, bowls, etc. 1:1 scale
Dropped pretty randomly, slo-mo mainly, then full- speed when the screen is relatively full. Crockery sounds, slight, air playing them like the percussive. Whoosh of air.
Slo-mo till the screen is almost full, then drop full-speed for say 5 seconds.
Crash centrally-ish, with scatter. Smashing and flying off in shards where it hits hard surfaces. Crockery shards, tinkle of ceramic, etc. SFX
Timing as above
PAUSE No pause
17. Cutlery. To match the crockery, like https:// Timings and quantities similar to the crockery. 1:1 scale. Suitable tinkle and clatter
PAUSE 10 seconds
18. Beer. A couple of kegs. Behaving like the wine and the orange juice. Can the beer foam? Probably not. Hard to identify this, but that’s fine. The two kegs will clang differently when they land. Kegs 1:1 scale. Fizz and froth sounds, glugging, emptying metal keg sounds.
PAUSE 10 seconds
19. Firecrackers. Just a few. Lit, land, go off unspectacularly. 1:1 scale
Say three firecrackers with the fuses lit drop, slo-mo centrally, then drop.
Smoke a little, sparks as the fuse goes down. Hiss of the fuse.
3 second slo-mo centrally
Drop onto the pile wherever, and go off. Paltry bangs. Touch of landing.
Timing as they would.
PAUSE 20 seconds
20. Wardrobe full of clothes. Like, 554657 Full of clothes on hangers, to open and spill a little in the drop. There are so many clothing models out there, so I might leave this with you. Not sure of the proper useable specs. I mean, that’s true for everything really, but. Random, hanging.
Whole wardrobe drops at a slight angle, doors ajar, hits the slo-mo centre, then continues to fall, clothes coming out. Low whoosh, creak of door, flutter of clothes.
5 second slo-mo centrally
Crashes centrally, clothes thrown up or spill out. Crash of wood, flop of cloth.
PAUSE 10 Seconds
21. Fish. A few large fish. Like I’d say bump up the size to something faintly ludicrous. Small shark size? Wet look. Nice and limp and heavy.
They drop scattering a little, bending, enter the slo- mo part for ‘inspection’, then continue to fall. Gratuitous slimy sound.
5 second slo-mo centrally
Full-speed hit. Again, as with heavy objects, they should disperse whatever’s loose a little. A little kick up of whatever is powdery down there. *Slap!* sounds, slimy report.
Timing as they would.
PAUSE 20 Seconds
They drop at roughly the same time, scattered a little. At angles, catching the spot light, reflecting one- another, etc. Glass SFX, the ring of glass and air if anime were doing it.
5 second slo-mo centrally
Full-speed hit. Shattering as accurately as possible. Reflecting all the while. Wood, glass, very loud, awful SFX
Timing as they would.
PAUSE 20 Seconds
23. Newspapers. Lots, opening up and fluttering about onstage, caught in a gust of wind. Model-wise, I’m not sure. Models seem to be set, not constituted by pages that might move and flutter accordingly. A bit like the books, I’d like to take this one on advise. Thoughts welcome. 1:1 scale
Dropping scattered like the feathers, etc. No slo-mo necessary. Some dropping faster without fluttering open; some opening and separating. If possible. If this isn’t possible, we’d go with bundles of newspapers, tied up. Or reassess. Flutter of papers.
Say at least 20 seconds of newspapers falling
Same pace as the TOP screen, basically, but *guided* slightly so they land in a manner to layer over the top of the mound. Flap and thud of landing; flutter.
Timing as above
PAUSE 10 seconds
24. A black cat. Falling. Maybe this one, though I’m balking at the price a little: rigged-fur-model-1391993 Falling reference: https:// lands on the mound and skips off, off-stage. Perhaps the animation would be tricky for this. My usually sources of mo-cap stuff don’t have cats, but. Thoughts welcome. 1:1 scale
Falls centre, turning to adjust for landing on its feet. Slo-mo in the centre, as per. Slight mewl. Whoosh
5 second central slo-mo
Lands full-speed, on its feet, delicate, absorbing the shock, then skips off, perhaps over the back if necessary. Delicate sound of feet, slight winding of the cat with a short mew, trot off.
Timing as above
PAUSE 5 seconds

25. Dry ice. A curtain of it falling, swirling; spotlight searching. Spilling down the mound, rolling off the stage.
Falls like a water fall, at the already-slo-mo speed it would.
No slo-mo. Fade out. Silent, just acoustic changing. Perhaps sub.
20 or so seconds of falling?
Laps at the mound in misty waves, wreathing it somewhat, then rolling off and off-stage, over the front or wherever. Disperses like this. No sound?
Once poured out, then a gradual disappearance, maybe 20 seconds to disappear, kicked up a little by the landing of a few of the next item...
PAUSE No pause
26. Cardboard boxes. Big, empty boxes like Oversize. Big enough for a body or similar. 6 of them.
Falling, scattered, flaps opening and closing. Some sealed?
Tumbling, turning. Flap of cardboard SFX
5 second slo-mo
Drop lightly and unceremoniously. Settle. Quiet sounds of cardboard contact. Large hollow sound
As they would
PAUSE 5 seconds
27. Ash. Black ash drifting down silently, to cat the mound pretty comprehensively. Particles obscuring.
Drifting in, a few particles in eddies of air, then thickening to a cloud and slowly falling. Again, changing the acoustic, muffling.
Perhaps a minute of this falling
Coating everything, the stage, the mound, a thin coating. High settling sounds.
Slow and steady.
PAUSE 10 seconds
28. Oil. As with the orange juice, beer, wine. An oversize drum: or the like, glugging out its thick, black, crude contents.
The drum drops, levitates, and tips out its slightly impossible contents. Less ridiculous an amount than other substances. Sounds of glugging, the steady hollowing pitch shift, slight dings and clangs of metal. Drum empties then drops after the oil.
Drop quick, then levitates for, say, 10 seconds
Landing gratuitously shiny, like caramel or something, coating and seeping down the mound. Gastronomic overtones. Overt SFX to connote: faint guttural, a wink of toilet humour
Slow and steady, slight slimy sounds as it layers the mound. 10 seconds of oil, then the drum drops and splats on top, almost certainly rolling off. Whatever that does.
PAUSE 20 seconds
29. 2 Parachute silks. One then another red parachutes fall silent and huge to cover the mound. Not sure how this should be modelled to catch the air sufficiently. Silky fabric is the main thing; the ropes and technical parts can be forgotten in favour of the huge silky thing unfurling and drifting. Perhaps more like huge flags?
Pretty much down the centre,
No slo-mo, just drifting, one, then the other, close to one another
Filling with unseen wind, snagged a little
Rippling fabric sounds
20 seconds or thereabouts?
Corrected to land, draped over the mound, perhaps with a little drift atop the oil.
Rippling and resting sounds.
Slow and steady, as necessary.
PAUSE 10 seconds
30. Vodka. A bottle of vodka, 1:1 scale, behaves like the other vessels, levitating and disgorging the correct amount. Glug glug. Screw of cap. Glass overtones. As with the other substances, the pour and followed by the cap and the bottle. Land with a smash or roll. Unceremonious, discarded feeling.
PAUSE 5 seconds
31. Flatscreens. Ten flatscreen TVs, released in a scatter at the top. There’s a lot of models of these, so take your pick. Large, like 60” or above. Can be just a couple of different models.
Dropping scattered a little, turning, central third slo- mo part
Nothing on the TVs, cables trailing.
No specific sound, perhaps the cable whip a little Whoosh
3 second slo-mo
Landing hard, on their backs or fronts. Smash of screen or plastic.
Real-time crashes
PAUSE 20 seconds
32. Slime. Enough fluorescent green slime to coat the top of the mound and start slowly moving down the front slope. From two large toxic barrels. Same behaviour as the oil. The slime should glow in caricatured radioactive fashion. This glow can fade once dropped or, preferably, continue to glow until the next substance. Follow directions for oil with humming, pseudo-electrical SFX.
PAUSE 10 seconds
33. Rope. A very long coil of fat rope; unfurling from above for long enough as to be funny. Wobbling as it drops. No slo- mo. I’m not sure which models are possible for the movement. Should be thick as a ship’s rope, though.
Unfurling from the top, centre Slight wobble
Creak and low whip of rope
10 seconds dropping
Landing like one of those plug chains: like liquid, heavy, coiling, spiralling. Low slight report of landing.
As above
PAUSE 5 seconds
34. Eggs. Six chickens’ eggs; 1:1 scale. I’m guessing this model’s easy, but
Released in a group, spinning. Drop fast and small and pathetic. High whoosh
5 second slow-mo
Landing like an egg. Imagining slightly disguising the impact to minimise the complexity. The sound can do the heavy-lifting here. Crack splat, you know.
As above
PAUSE 10 seconds
35. Pillows. A household’s worth of used white pillows. Say, ten. Maybe something like A scatter of them. 1:1.
Scattered, slightly delayed drop between pillows. Move and respond according to air a little. Low whoosh, slight fabric report SFX. No slow-mo, just drop.
Quick, cursory
Landing at different points on the mound. Tumble and settle. Thuds.
As above
PAUSE No pause.
36. Foam. Foam uncoiling from above. To sit on the mound like whipped cream. After landing, it settles. Certainly, by this point the mound really feels pervertedly gastronomic.
Dropped back and forth, unfurling, so that when it lands it’s drawn in waves.
Sound of aerosol, foam detaching in the drop, a little.
10 seconds of this dropping. No slow-mo
Landing like a chocolate bar ad. Collapse when landing or dissolving? Fizzle sounds?
As above
PAUSE 5 seconds
37. Dead birds. Falling as-if they died mid-flight. As with other items that fall like rain. Reference opening of ‘Melancholia’: from 17 seconds. Just noticing this marketplace: birds ...?
Raining, sporadic at first, then, say, 100?
5 second slo-mo
A pretty obvious reference: the frogs in Magnolia. –– gross in their unflinchingness as they hit full-speed.
As above
PAUSE 20 seconds
38. Tyres. Four large tyres. Tractor or equivalent. Again, loads of models here. Rubbery, matt, rugged.
Scattered, different angles. Slow-mo central, spinning a little. Low whoosh. Maybe slight comedy boing sound?
5 second slo-mo
Landing one after another, bouncing, probably leaving the stage or landing on their face, a couple. Boing! Rubbery sounds.
As they would
PAUSE 5 seconds
39. Balloons. A net of multi-coloured balloons is released to tumble about. Hoping this is a simple model, with a little transparency. 1:1 scale. Perhaps this is useful? As many as you might have at the end of some celebration.
Released as if from a net above, drifting down. Squeaking a little.
Say ten seconds of drifting down, jostling, squeaking.
Landing like a sad celebration. Probably tumbling everywhere. Tiny reports of the balloons boinging, contact with whatever material.
As they would
PAUSE 20 seconds.
40. Tree. A tree falls in slo-mo TOP and BOTTOM. Settling slow and impossibly. Lowered by unseen telekinesis or some shit. or something like this. Maybe better, but with roots. Like just so it looks good, eerie, careful. 1:1 scale?
Lowered slow, horizontal, and at a slight angle. Rustle and low rumble
20 seconds or so to cross the TOP screen
Same as above, very carefully laid to rest, as if to try to balance it, see-sawing. Crisp foliage nothing as it is settled.
10 seconds? Careful.
PAUSE 20 seconds.
41. Sand. Shining, enough to start engulfing the mound. Saharan yellow.
A waterfall of sand, no slow-mo
Filling the central area of the screen in a widening column
A thin stream turns to an inundation
Tinkle of sand grains and then rumble of huge movement
10 seconds or so
Landing centrally to start burying the mound. Low thud and tinkle.
As above.
PAUSE 20 seconds.
42. Bones. Assorted human bones. Enough to seem like a number of bodies. Maybe from
Released a few at a time, then the rest. Slow-mo central part
Dry slight clatter
5 second central slow-mo
Landing randomly. Scattered like a topping. Clatter and whatever surface they hit.
As they would
PAUSE 5 seconds.
43. Grand piano. Falling, lid open, feet first. or cheaper but good.
Slow motion the whole way. Dropping. At an angle. The tinkle off keys and strings, heavy whoosh.
Under 10 seconds?
Crashing down in the centre. Scattering and smashing. An almighty sound – musical!
The chord, the sound, is sustained, decays over the PAUSE of 20 seconds.
As it would.
PAUSE 20 seconds
44. Rain. Soaking the mound. One whole minute of rain. Washing and glistening.
It starts with the lights flickering out. Then lightening above, off-screen, flashing the screen.
Thunder cracks, then a deluge.
One minute.
Raining on everything. Sound of rain hitting everything. Distant thunder, distant lightning flashes.
One minute.
PAUSE 20 seconds
45. Snow. To coat the mound and the stage in white. One whole minute of snowing. As with the rain.
Lighting blues and pales, the first few flakes of snow fall, then heavy, then heavier.
Acoustics change, distant howl of wind?
One minute
Steadily coating everything onstage. Acoustic change, muffling, closing down the reverb entirely.
One minute
PAUSE 20 seconds
THEN Fog rolls in and over the stage, sitting low. TOP screen empty, silent, maybe drip of what was once.
46. Flaming torch. Drops spinning, slow-mo central part.
Drops central, spinning, flaring flame, no light but the light of the torch. Light seeping from the stage BELOW
Flaring flame sounds, spinning wind in flame rush. See 2.04 here: x1a38xq Some smoke.
5 second central slow-mo
Landing with a clunk and a fizzle. Fire put out in snow. Hiss. Smoke rises.
As it would
PAUSE 10 seconds
Slowly lowered on ropes, not dropped.
Audio cables trailing.
Perhaps lightly spinning as they descend. Creaking of rope, off-screen winch squeaking. After speakers are placed on the BOTTOM screen, ropes return up the screen
20 seconds or so?
Lowered to the stage, carefully.
Audio cables dropped once speakers are settled, trailing off-stage.
Ropes detach and are winched quickly up.
One speaker either side of the stage, flanking where the mound’s going to grow.
The sound of an amp being turned on, a buzz of connection.
As they would
20 seconds
48. A giant spider slowly descends on a strand of glistening silk, settles atop the mound, scuffing things a little, and __x__ plays from the PA system. Spider facing out. Like this sort of thing: birdeater-fur-rigged-3d-model-1258130
This final scene as long as the song, whatever that will end up being. Spider slightly *heaving* / idle animation.
A pause after the song ends, around 30 seconds. Then the curtains close and the lights up TOP remain off. Fade to black on BOTTOM.
Loop begins again after 30 seconds of black.

3. List of Jobs. The first thirty generated at;, expanded upon by by GPT-3, OpenAI’s language generator. Excerpt from Ed Atkins, Three Pieces of Bread, published 2020, on the occasion of Entropy of a biased coin, at Cabinet, London

[-35] Melencolia


Refuse.exe is a two-channel realtime 3D simulation, authored in a custom version of the Unreal Engine: a software development environment used to make video games.

Each run-through of Refuse.exe is unique. The objects drop in the same sequence and at the same time per play through – but their movement while dropping, their landing and their accumulation differs every time, at the whim of the physics simulated.

Refuse.exe is a play about things returning – downwardly mobile, scurf maybe upcycled from industrial nowt to cultural significance or.

Refuse is a homonym, remaining unresolved in text. It signifies at least both unwilling and trash, the meaning reconciled in speech only.

Refuse.exe is a real-time, quasi-proprietarily generated and simulated animation of misc. stuff falling through a building to a stage and piling up. Every performance is unique.

Refuse.exe dramatises the return of repressed, deferred and otherwise figured things, by way of a play as a computer program.

Refuse.exe is a play reduced to crude, barely a diagram:


ENTER                 Drop

ACTION                           Fall

INTER-ACTION               Land

DEATH                 Cease

REFUSE                           Remain



Each performance is unique. The simulation makes for a managed chaos where the fall, collision and cumulation of stuff is peculiar every time. No two performances of the application

Refuse.exe IMPOVERISHES redemption, grace, material recuperability? Refuse.exe is performed by a sprawling cast of CG stuff.

'Refuse' is cumulative.

Lists are the essential form of this play.

37. The Weight of the World
Social Suffering in Contemporary Society
Pierre Bourdieu &
Alain Accardo, Gabriel Balazs, Stephane Beaud, Francois Bonvin,
Emmanuel Bourdieu, Philippe Bourgois, Sylvain Broccolichi,
Patrick Champagne, Rosine Christin, Jean Pierre Faguer,
Sandrine Garcia, Remi Lenoir, Françoise Œuvrard, Michel Pialoux,
Louis Pinto, Denis Podalydès, Abdelmalek Sayad, Charles Soulié,
Loïc J.D. Wacquant.
Translated by Priscilla Parkhurst Ferguson
Susan Emanuel, Joe Johnson & Shoggy T Waryn.
Polity Press 1999
First Published in France as La Misère du Monde Éditions de Seuil 1993