Both courses are open access, and run from their own websites, so anybody can follow the course, try the exercises, and use them in their own practice or teaching. The courses are both run by websites which are open source, so anyone can copy, adapt, and use them as they see fit. All of the code used to write and publish the courses is on Github.
Students of the Scripted Design course I run at MIVC are putting on a show at V2_ Lab for the Unstable Media on 17 December, in which they will showcase their work from the course: a series of rules-based videos, and films which compile videos made every day throughout the course into one video artefact.
I decided to participate in NaNoGenMo (National Novel Generation Month) this year with a project called Directory Directory – an online directory of fictional companies, all located within the Alphaville-Zulutown region. It’s organised like an old phone book, by service type, and each company has a name, slogan, address, and phone number.
Some day in the future I’ll update the directory to have more information, and use more advanced grammar, and maybe even be printable. But the project was a nice excuse to learn some new things (the Tracery library for python is fun to play with; it’s also the first time I’ve built a workflow to build a whole generative website).
This week, I made a silly Twitter bot. It was mostly an attempt to make a tutorial about making Twitter bots using Dreamhost servers, but ended up being a bot who periodically tweets lines from Des’ree’s 1998 hit Life.
The bot itself is inspired by the africa by totobot, which simply tweets a random line from the song every few minutes. It is actually so irritating that I’ve stopped following it myself, as I found my days permeated by twee earworms about preferring toast to ghosts, or the desire to fly around the world in a beautiful balloon.
The codebase is on Github – you can use it to build bots yourself if you use Dreamhost, or adapt the code slightly if you use another host (or have your own server).
I am sure it’s been done before, possibly hundreds of billions of times, but as a small coding exercise whilst writing my PhD I wrote a little piece of code which renders random iterations of Raymond Queneau’s Hundred Thousand Billion Poems on a web page. I re-found it whilst working on another project. Here it is:
I’m happy to announce that I am one of the nine resident artists at V2_ Lab for the Unstable Media as part of their Summer Sessions programme this year. I’ll be developing a sound project that I am quite excited about – more details to follow soon.
Title: Rules of the Game
A prop and action: A character opens a sealed padded envelope and pulls out a card.
A line of dialogue: The count for this stuff is off the chart, probably best you don’t get it on your skin.
Here is the outcome. It’s a 5-minute film about an ambitious inventor named Larry Hammer in the midst of an experiment. The film-making had all of the constraints you’d imagine (no budget, limited time, one person) but it was great fun to make. I hope you enjoy it!
I did the writing, shooting, directing, editing, starring, and soundtrack (à la Tommy Wiseau?). I also had some generous script advice from Amy Butt and Pippa Palmer, for which I’d like to express thanks.
I’m very excited to be giving a lecture as part of the Bartlett’s Constructing Realities lecture series next week. If you are in London, please do pop in on the 15th February. It will also be the first chance I’ve had to see the Bartlett’s shiny new campus.
Scripted performances: digital and absurd machines
‘Scripts’ in architecture are usually associated with computer-based design programming. However, this narrow usage belies a rich vein of concepts intrinsic to architecture and authorship. This lecture poses the script as a useful critical and methodological tool within architectural design, absorbing and reinterpreting ideas from behavioural psychology, computation, dance, immersive theatre, the Absurd, and the Oulipo. The lecture is illustrated through a series of projects completed during Palmer’s residency at the Palais de Tokyo and PhD by Design at the Bartlett spanning dance, film, installation, and data manipulation.
Ollie Palmer is an artist and designer based in the Netherlands. He holds an AHRC-funded PhD by design from the Bartlett and was artist in residence at the Palais de Tokyo in Paris from 2015-16. His work has been exhibited around the world, including at the V&A Museum, Opera Garnier de Paris, Seoul Museum of Art, and the Royal Institute of British Architects. He co-authored the winning proposal for the US Pavilion at the Venice Biennale 2018, and sits on the project’s curatorial advisory committee. He formerly taught within the Bartlett’s Interactive Design Lab and at the School of the Art Institute Chicago. He currently teaches at TU Delft.
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
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.