L.A.S.T.

Large Anthropological
Simulation Trial
Adel Cersaque Lire en Français

Here it is.
Here it all starts.
Sometimes it doesn’t end here exactly though.

There is where it comes about.
There is where the story is set.
There is where it often gets real.

This is what they sit at.
This is where the character’s voices emerge from.
This is someone’s turf.

That is the engine that broadcasts the story.
That is the engine that records the debate that follows the story.
That is the engine that will broadcast the recorded debates later on.

This makes it easier to swallow.
This allows the speakers to take some time to gather their thoughts.

This allows Adel Cersaque to make his guests stay a bit longer.

Here lies the core of all the jabber that might follow.
Here goes the disruption of the citizen’s apprehension.

Here is where conflict, politics and love affairs get mingled.

Now is time to get the story going.
Now is time to embody its characters.
Now is Chai tea time.

Is it over?
Is this still the story we’re talking about?
Is it really worth the hassle?

The Large Anthropological Simulation Trial (L.A.S.T.) is a piece constituted by five individual tables, linked together to form a circle. Each featuring a speaker, they altogether broadcast the fictional debate of four scientists and a mediator; thereby only present by the tone of their voice.

In the world in which the characters exist, a scientific organization known as the Université Communauté has put together a vast anthropological study which aims to test and compare former, present and futur political patterns through simulations. The scientists are thus asked to confront their patterns* on stage, at the dinner table of the 17th annual congress; at the end of which one of the four will be ruled out.

For every session, four volunteers of the public are asked to sit at the table in order to take part in the Large anthropological Simulation Trial. Each time the fictional debate is broadcasted, the participants, now guests, are then asked to perpetuate the discussions of their characters.

By chance, helped by the warmth of Chai tea and puddings, the debate would eventually slowly slide from story to reality; and the microphones set up on the tables would be able to record their discussions.

By disturbing the instinctive apprehension of the citizen — who feels illegitimate towards concrete political thinking — through fiction (as in the opportunity for the participant to hide behind the disguise of the character he is supposed to embody) L.A.S.T. was thought has a device to collect political thoughts and desires. Which it did quite well.

CREDITS

  •  ♥ Ironworker François Pouenat, with who we’ve been able to work with, thanks to the financial help of the Schueller Bettencourt Fondation and Marie Descourtieux.
  •  ♥ Sound engineer and friend Nicolas Ghyslen.
  •  ♥ Actors : Katrina Maxwell, Kristine Jouanne, Geoffrey Finch, Conrad Howard, Andrew Fitzpatrick.
  •  ♥ Pierre-Yves Dougnac, technician in charge of the video studio of the Arts Décoratifs de Paris.
  •  ♥ Gautier Mallet & Baptist Penetticobra.
  •  ♥ Florence Paradeis, Florence Doléac & Brice Dellsperger.

LOCATION

* Respectively : the Direct Democracy, the Federal Presidential Republic, the Anarcho-capitalism and the Mediacratic republic.

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