by Angelo Plessas
The Fantasy Plot Generator comprises a website
(FantasyPlotGenerator.com), performances and a series of photographic novels. On the website visitors invent character names and automatically generate a story using a programming code. This code ‛borrows’ extracts from different philosophical dialogues about extreme concepts and social conditions and ‛remixes’ them in a random way. These stories are ‛animated’ by actors performing on a stage of borrowed furniture in costumes from the National Theatre of Greece. The stories then become part of an archive of photo novellas that are distributed through the website. The project aims to combine written and spoken concepts and connect people in different spaces, at different times
AMALIA, materialized in a desert. Everything seemed mundane. It was the sixth time to apply critique to everything. Being completely sober, whispered ‘I am the Medieval artist.’ In a blinding moment of misguided bravado, AMALIA hoped that AMALIA’s crucial experiment is to be perpetually visible. Under precise consideration AMALIA called OTTO, AMALIA’s favorite rape victim/persona ‘What do you do when you dont see anything?’, said OTTO. AMALIA spent OTTO for 11,000 days post-Athens riots, most of them were complicated memories of a transaesthetic experience. OTTO was an anti-modern. A neurotic lying on the analyst’s couch. OTTO was easygoing more or less… funny-smelling. AMALIA invited OTTO trying to resolve the problem of political impasse. ‘Your obsession and your grand ideas’, said OTTO.
OTTO brought here a complicated AMALIA. ‘I have hate’, said AMALIA. OTTO deliriously assured AMALIA that venomous avatars panic before gaining independence, yet Pseudo-Dadaists usually indiscriminately shudder after trying to explain Lacanian concepts. OTTO could not get it. OTTO was worried by the inoculated Oedipus virus of AMALIA. ‘I have Nothing to Admit’, said AMALIA. Why was OTTO conspiring against AMALIA? While OTTO had deceived AMALIA with the worker only nine years prior. It was a crucial hesitation… how could OTTO resist? The economy of desire.
‘Undo’, said OTTO.
Gaily, OTTO said ‘Fantasy is the very screen that separates desire from drive.’ ‘You are an observatory of schizophrenic revolutions!’ ‘Wh-what the fuck? I don’t get anything..or I am in denial!’ In vain. A complicated look started to take shape AMALIA’s face ‘The world is shrinking and a feelling of incarceration is already looming’ he thought. AMALIA turned his memory to notice a rectangle that seemed clearly out of place ‘Honestly I am beginning to give up on television.’ ‘Time is mind. Time is pure thought.’A statement copied from actions fundamentalists. ‘It is my way to see people like this.’ AMALIA seemed nonchalant and a snobbish temperament before OTTO say a word, AMALIA aimlessly signified something very strange with the voice, looked at it, an attempt for teleportation. The secret was passing to the end of vista.
‘I am drifting into the void’, said AMALIA. ‘We have never been modern’, said AMALIA. But then Zeus appeared flamboyantly with his congenial omen and recreated AMALIA’s experiment. Sensing puzzled, The Lord of Limbo detonated the venomous avatars on the cruel playground. Entered the trance of magic flying carpet and zipped away with the enthusiasm of 2,000 Texas fundamentalists jumping from a big bunch of androids. AMALIA tripped musically when saw this. AMALIA’s experiment was safe. It was a good thing, too, because in two fractions AMALIA’s favorite website, was going to come on (followed immediately by ‘When avatars encounter gun’). AMALIA was pleased. Everybody and everything, OTTO and a few ebolapulling Texas fundamentalists teleported to the Communist Utopia. ‘Phychoanalysis is a formidable enterprise’. The unbearable management of real-time.
‘An object exists, if it is caught in the web’, said OTTO.