FILM

FUTURE SCENARIOS FILM 

Selected film stills from work in collaboration with Lena Dobrowolska.

FUTURE SCENARIOS_ ANTHROPSCENERYS & MEMORIES OF THE FUTURE_LENA&
FUTURE SCENARIOS_ ANTHROPSCENERYS & MEMORIES OF THE FUTURE_LENA&
FUTURE SCENARIOS_ ANTHROPSCENERYS & MEMORIES OF THE FUTURE_LENA&

In their Future Scenarios  film Dobrowolska and Ormond-Skeaping present a loose imagining of the next 81 years. Through four sets of speculative events that unfold along multiple pathways to the future, we imagine both difficult and improving scenarios.  

The speculative events were imagined in response to Shell’s Future Energy  use scenarios -mountains and oceans- and The United Nations Framework Convention on Climate Change’s RCP scenarios that vary from a 1.5°c to 6 °c of predicted temperature rise by 2100.

By presenting a coloured dot instead of a defined temperature marker Dobrowolska and Ormond-Skeaping wish the viewer to imagine what the future may hold, as they subjectively interpret what temperature increase the four dots from yellow to dark red signify.  

Working with their footage as Anthroposcenery from the future Dobrowolska and Ormond-Skeaping explore how scenarios can be considered memories of the future because thinking about the future uses the same part of the brain as thinking about the past or past memories. 

As Shell’s own scenario team points out “thinking about the future is limited when we use past presidents to imagine it, but one way of challenging our self’s to imagine different scenarios is by becoming aware of, and understanding different and multiple perspectives”. 

By working with three screens Dobrowolska and Ormond-Skeaping present different perspectives on events that unfold along multiple scenario pathways. In this way they frame the future as undecided, through lenses that acknowledge the powerful agency of the unknown protagonist behind the camera to which theses future memories possible belong.

Imperfectly retaining the footsteps of the camera operator, the stabilised camera acts as the point of view of an unknown persona who spends time with people engaged in resilience, adaptation and consumption activities that are related to migration, food, water, shelter, leisure and work as climate change affects their daily lives.

The embodied camera is complicit, a cool and distant observer that plays the role of someone who is responsible, both responsible for climate change and responsible for the mitigation of climate change. The camera is present to disrupt and present to learn from those most vulnerable, and yet most resilient. The camera is there to draw attention to itself and how it others, how it reveals power relationships, how it inspires performances and how its presence leads to the generation of further narratives and scenarios. At times the camera is welcomed and at others it is regarded as an intruder, and at moments the camera its self appears to be vulnerable.

The foregrounding of the camera’s presence is intended to emphasise the use of different lenses or frameworks in research, journalism or documentary. 

Often framing the way we view, and therefore how we interact with the world; without our knowing it, these frameworks shape the way we imagine our future.

Although these lenses are not physically represented by a change in focal length, Dobrowolska and Ormond-Skeaping indicate which future events are indicative of  a climate justice framing, a neo-malthusian framing, or a technocratic framing of the future through colour coding.

The colour are: Green for climate justice and solidarity in the future, red for a neo-malthusian future where drastic measures are used to control dangerous levels of  overpopulation, and blue is used for a technocratic future full of techno-fixes like geo-engineering and authoritarian governance.