SLIDES: Beauty of Digital, Sheffield (28/03/12)

I was invited to take part in the Sheffield leg of a series of events run by Creative Times called The Beauty of Digital.

I spoke briefly about digital not being a thing, and it being a tool. I made a bunch of slides that looked like this:

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It was an enjoyable session with a pretty inquisitive audience. The rest of the speakers were James Wallbank (Access Space), Bea Marshall (Moogaloo) and James Boardwell (Folksy).


1. X1172 by Max Capacity, via New Aesthetic
3. Chromaroma by Mudlark
4. Derby [2061] by Mudlark
5. Birmingham Civic Dashboard by Mudlark
8. One Minute Internet, Part 2: Fukushima (March 12, 2011) by Marcus Brown
10 & 11. MemCode, Issue 2 by Mudlark
14. Ugle by Voy
15. SXAESTHETIC by James Bridle
16. Foo Fighters, Live From Reading ’95 by The Uprising Collective
17. You Don’t Compare Wolf, via New Aesthetic
18. Parasol via Circumambient (oft NSFW)


Things that I said to people at Culture Hack North.

I was invited to give a short provocation/inspiration talk at Culture Hack North. CHN is part of the wider Culture Hack programme bringing developers, arts organisations and creatives together to think about how to use technology differently, and develop prototypes for New Things. It seemed to be a very successful weekend and you can see some of the hacks that were made.

There were plenty of good people talking, including the always excellent Matt Edgar (his notes), Frankie Roberto (talking about embracing ambiguous data through the Open Plaques project) and the new-to-me but very interesting Natasha Carolan (her write-up).

I’m not a seasoned speaker, so thanks to Rachel for twisting my arm and making me go to Leeds. The images I used to represent my points and the words I tried to say are below.

Audiences click here for further information about this piece

Bangkok & The Inevitable City (redirection point)

Last month, I went to Bangkok with Toby.

It was my first full week at Mudlark, and a pretty strange experience — Bangkok is a full-on city where the volume for all the senses seems to be stuck on eleven.


Emo etc.

We spent the time walking around, setting up remote offices in the TCDC or hotel bar, looking at everything, and even squeezed in a screening of Sucker Punch. (I need to see it again because it was either brilliant or the worst film of the year.  I’m siding with brilliant for the moment.)

Here is an impressionistic post I wrote for the Mudlark blog detailing our minds being stretched a bit. In comic book style, words: me; pictures: Toby.


Crosspost: “Fatalism in Game Design”

It’s been a bit quiet here lately, my apologies. To make it up to you, I am going to republish a post I wrote for the Mudlark blog recently. It’s about an iPhone ‘game’ that’s a year old, but accidentally touches on some interesting ideas. Or it’s easy to extrapolate them from the game.

Read on if you like. but I wanted original content!

Pecha Kucha, Sheffield: Enthusiasm

Last night, I gave a short talk at Pecha Kucha Sheffield.

It was the second one in this city, bringing together an odd mix of creatives, interested audience, and the usual marketeers who you can feel oozing off the walls. That’s fine, though, they’re there to capitalise on the creatives.

There were seven talks in total loosely under the banner of ‘Enthusiasm’. A quite interesting (but too wide) talk about sound peaked above sprawling looks into signs, product design, sci-fi, and someone talking through a portfolio of design from when they were the zeitgeist.


My Life As A Chopper

“Would you be an object for a week?”
“Yeah, sure.”

That’s how it starts. A flippant enough request, an equally flippant answer, but quite complex in reality. The brief was fairly wide — be irreverent and avoid any particularly brutal single entendres.

As part of My Life As An Object, I was asked by Rattle to voice an object on twitter. The rationale for the project is better explained on Frankie’s blog, but the core aim is to take static exhibits, bring them and their history to life — to make them part of living culture again. This partially meant to make the objects ‘real’ again, to recontextualise them and engage people in a way that you can’t just by looking at them. Most people are used to talking to objects, but not many really expect an object to talk back to them.

Change gears, boss