Author: Ollie Palmer

Architectural Film Festival London

I am excited to have two films screening at the inaugrural Architectural Film Festival in London from June 7-11 this year. Both were produced during my residency at the Palais de Tokyo.

Network / Intersect

A film about propaganda and the production of fake news, created entirely using the techniques of the Internet Research Agency propaganda factory in St Petersberg.

Room 11, Bargehouse, OXO Tower Wharf – free entry
Wed 7 Jun 11:00-13:00 (ArchFilmFest Selection A, 120m total)
Thu 8 Jun 11:00-13:00 (ArchFilmFest Selection A, 120m total)

Scriptych

From the live performance at Opera Garnier de Paris on 18 June 2016, featuring choreography by Simon Valastro. Two dancers attempt to communicate via a new technology which converts their movements to words, using vector space translation.

Bargehouse | free entry
Room 11, Bargehouse, OXO Tower Wharf
Sun 11 Jun 11:00-11:46 (ArchFilmFest Competition Shortlisted)
Sun 11 Jun 13:40-14:26 (ArchFilmFest Competition Shortlisted)

Institute of Contemporary Arts (ICA) | ticket required
Sun 11 Jun 16:30-18:30 ("From Above" category, with introduction by Competition Director Anna Ulrikke Andersen)
More information

Complete festival programme

Directions

Bargehouse, OXO Tower Wharf

ICA

Synchronised cinema

The first known use of multiple cameras and multiple screes, Thompson said, was in 1896 in a process called “Cineorama.” Ten cameras were mounted . in a balloon. As the camera ascended the Paris rooftops, the cameras photographed a 360-degree image simultaneously. Synchronization was accomplished by a shaft running vertically upward from a platform where two men stood. The chaft had an eccentric in it so that each man could hold the section as he turned it manually. A huge cogwheel at the top operated the cameras in unison. Needless to say, the speed of the cameras was not constant. An attempt was made (the film was shown, I believe) to show this film at the Paris Exposiiton of 1896. To give the maximum illusion of reality, the audience was asked to stand in a basket similar to the gondola of the balloon. An alarmed and aroused fire department terminated the performance. Like all motion-picture film of that time, the stock had a nitrate base. When heated, it could have blown up and literally dispatched the entire audience.

  • Kranz, Stewart. Science & Technology in the Arts: A Tour through the Realm of Science/Art. New York: Van Nostrand Reinhold Co, 1974. 181.

Logic by Machine

We don’t talk about computers like we used to. Whilst writing up my PhD thesis, I came across this teaser video for my Nybble project. It was designed to elicit the interest of potential dancers and the public who may come to view the work. The dialogue is taken from a 1962 film called Logic By Machine, commissioned by IBM and put out on the equivalent of KQED-TV / National Educational Television (which I believe became PBS?).

There is a poetic, dreamy discussion of the potential that computers have to change the way we see ourselves in the world:

The computer is then given the problem in the form of numbers or instructions pertinent to arithmetic. It is the arithmetic logical task that the computer is organised to do. Once instructed, it can do as much arithmetic in a minute as a man in a lifetime.

A man in a lifetime…the lifetime of all mankind is but a brief moment in the long history of this earth of ours. And only yesterday in the history of mankind has man made any significant advance in his control over his earthly environment.

Dialogue written by Richard Moore. The rest of the film is also worth watching for the speech by the incredible Richard Hamming‘s explanation of exponentiality within computing.

Rock music

Whilst in Korea last year, I came across this incredible rock playing an instrumental version of Celine Dion’s Oscar-winning My Heart Will Go On.

Hold me, Jack.

A cybernetic argument against post-truth

As far as I see it, the Trump team’s rejection of facts, and the idea that we live in a post-truth world is nothing more than a refusal to engage in conversation with any other entity. It is a lazy and dangerous argument, and a threat to democracy. I will explain why.

In the 1970s Gordon Pask proposed a cybernetic theory of communication. It is called Conversation Theory, and it relates to the way in which we communicate with other individuals. 

It begins from the basic premise that our minds are machines which have the purpose of learning. Each mind forms concepts — that is, understandings of topics — which are in some way malleable. If you could only define the term tree within your own mind once, for example, you would not be able to see any new types of tree as trees. Instead, your definition of tree changes each time you experience, discuss, or think about a tree. The redefinition of concepts, the reaching of new understandings, is an essential part of learning.

One way we reach new understandings is via conversation. A conversation is an interaction between two individuals, in which both state and re-state their understanding of a concept, until they can both agree upon a mutually satisfying definition. A conversation requires the individuals involved to define and redefine their understandings.

Political opinions vary wildly, and largely depend on different definitions of terms like freedom and rights. In a democracy, every individual can form and hold their own definition of such terms. My freedom probably looks different to your freedom. We may not agree on the exact definition of the word, we may disagree wildly on where freedom starts and stops, but we will both agree that there is such a thing as freedom. Indeed, by talking to each other, we will probably learn something about the others’ opinions, we may modify our own ideas, and at the very least we may learn something.

Conversation in politics requires a basic premise: that there are definitions of certain concepts that both parties can agree upon. These are known as facts / truth. A fact may be that WWII was from 1939–45. An opinion might state that it could have ended sooner, had x been done by y. We can all agree on the fact — but we are able to disagree about the opinion.

If we cannot agree on facts, or the fact that there are facts, then our entire conversation will be spent simply restating these premises, rather than discussing potential problems and solutions. It is dangerous to believe that we live in a post-fact world, because it denies the possibility of ever engaging in meaningful conversation. Stating that there is no truth is the same as stating that we will never understand each other. Without meaningful conversation, you have no voice, and there is no democracy.

This is not a new idea. It has been tried and tested in Russia by the Putin regime, whom Trump has repeatedly stated he admires

Reject the idea that we live in a post-truth world. It is toxic, poisonous, and threatens democracy. It is an idea that exists merely to silence all of our voices, and shut us all out of conversation. Whether you are on the left or the right, this affects us all.


Notes and articles

Post-truth

Conversation theory

Scriptych

Scriptych

About

A couple attempt to communicate from afar using an interface which translates their movements into words.

Structured across three micro-acts, Scriptych takes precision in choreography to an extreme, embedding sensors on dancers which measure their movements and control both the music and the words spoken aloud, in real time. The couples’ communication becomes increasingly fragmented as the piece develops, posing questions about the location of meaning in messages and movements, and the impossibility of communicating true intent.

3 x 3-minute choreographed sequences for 2 dancers.
Custom computer interface with machine-learnt three-dimensional word database.

Process

Ina, the French Audiovisual Institute, made a video about the collaboration between myself and Simon Valastro below. More information about this project can be found in Chapter 2 of my PhD thesis.

Pavillon Neuflize OBC / INA #9 Scriptych / Ollie Palmer – Simon Valastro – VA from Institut national audiovisuel on Vimeo.

Photo © copyright Justine Emard / Pavillon 2016.

Prints

A limited number of signed prints of this performance are available for purchase. Please get in touch for details.

Performance

La Rumeur des Naufrages
Opera Garnier, Paris
18 June 2016

Film screenings

Arctic Moving Image and Film Festival
Harstad, Norway
October 2017

Architecture Film Festival London
Institute of Contemporary Arts / Oxo Bargehouse
June 2017

Film | Making | Space
Royal Academy, London
February 2017

Credits

Concept, script

  • Ollie Palmer
  • Simon Valastro

Choreography

  • Simon Valastro

Design, technology

  • Ollie Palmer

Dancers

  • Eve Grinsztajn
  • Mathieu Contat

Thanks

  • Thanks to the Opera National de Paris
  • Director Stéphane Lissner
  • Dance director Benjamin Millepied

Commissioning

  • Project realised under the Pavillon Neuflize OBC programme 2015-16 (research lab of the Palais de Tokyo), during its collaboration with the Opera National de Paris, the Institut national de l’audiovisuel and the Groupe de recherches musicales (INA – GRM).

Details

  • Performance: 2016
  • Film: 2019
  • Performance, film, technology

Lundi du Pavillon

Parisian friends! I will be presenting 24fps Psycho and the wider project that it is part of at the Palais de Tokyo’s Lundi du Pavillon on 18 April 2016.

24fps Psycho is a project that replaces every single frame of the film Psycho with a “similar” frame from historical archival footage. The frames are chosen by an algorithm which studies pixel colour values. The audience then construct their own narrative atop the film’s soundtrack.

This is part of a wider project looking at the technology of cinema. I will present some footage from the next stage of the project, whereby a film-wanderer makes its way through an archive, analysing films and continually making new connections between them.

Also at Lundi du Pavillon will be cellist Gaspar Claus and a screening of Olivier Dollinger‘s film Climate Control and the Summer of Love.

The Facebook-inclined can find more information and RSVP here.

Network / Intersect

Network / intersect

Synopsis

A palindromic film about the production of fake news and fake profits, and the impacts they have on the people who produce them.

W and M see the world differently. For W, a low-level government propagandist, objective reality is an illusion. Truth exists on a gradient and can be manipulated and distored. For M, a financial executive, the world of business is a large image-making machine. Every business deal is just another set of mirrors or lenses to position. These abstract worldviews creep into the lived experiences of both characters, with unexpected consequences.

Information
This film is experimental. It is a mirror, playing forwards and backwards simultaneously, the characters’ worlds intersecting halfway through. The production techniques were adopted from real Russian propaganda agencies, covertly filmed in false locations, Paris standing in for Seoul. The entire form of the film and its production accurately reflect the characters’ abstracted worldviews.

This is the first film to be made using a process called Reflexive Scripted Design, developed as part of my doctorate thesis work at the Bartlett School of Architecture. The entire film was created using a set of four rules ensuring that the final form reflects the film’s subject.

More information about this project and the Reflexive Scripted Design process that was used to develop it can be found in Chapter 4 of my PhD thesis.

512-second loop on dual-projectors.

Public display

Urban Legends
Seoul Museum of Art (SeMA)
5 April – 29 May 2016

Architecture Film Festival LondonOxo Bargehouse
7-8 June 2017

IMDB

IMDB link

Credits

Direction, cinematography and script

  • Ollie Palmer

Actors

  • Patrick Ng
  • Hokyoung Im

Technical assistance and model making

Production support

  • Chloe Fricout
  • Justine Hermand

Script consultant

Commissioned by

  • Gahee Park and Fabien Danesi
    Seoul Museum of Art / Palais de Tokyo
  • Shot on location in Seoul in 2016
  • Made during my residency at Pavillon Neuflize OBC, the research lab of the Palais de Tokyo