Selecting Storylines


The storylines are the foundational components of the overall narrative; the book’s chapters; the patches in the tapestry that covers the quilt.  My intent is to start without specifically constraining the narrative and only after the stronger themes emerge will I then narrow and focus it.   I need to select therefore a suite of storylines that offers the coverage. The benchmark for coverage will relate to how complete Identity is presented, which in turn involves translating this concept into its more tangible elements of place and culture.  These two might be thought of as simply a cross-reference between the elements of place (e.g., landscape, monuments, etc.) and their participation in a story. The coverage of Identity, can be estimated by summing the individual stories.  Both involve some form of tuning, through an iterative process, to get things right.

However, fullness of the narrative is just one criterion of the selection process.  

I should include stories that go beyond visual presentation and include the other senses.  Further, I would like to explore beyond the physical elements of place into the mental and conceptual dimensions.

Stories should be included that engage the viewer. However, the degree of engagement should vary, as I will also need to consider the pace of the art work as well. Pace in terms of the emotional impact delivered; pace in terms of the length or duration; pace in terms of the conceptual impact.

I will also consider the rendering of the story, specifically, I want to ensure that the resulting art work offers an appropriate blend of personal and archival elements.

Finally, I want to avoid needless, unplanned, duplication.  Alternatively, I may use duplication as a tool to emphasize or highlight a point.

I expect these criteria to evolve as I work though the process.


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