SPAN 2017 Newcastle-Gateshead - Livestream

Google Design2017-10-05

3K views|6 years ago

💫 Short Summary

The video explores the intersection of art, science, design, and technology, emphasizing collaboration and innovation. It discusses various art projects, the relationship between music and architecture, the use of digital media in artistic creation, and the importance of context in interpreting information. The Newbridge Project in Newcastle is highlighted for supporting emerging artists and fostering a creative community. The event also showcases the design process, the evolution of software design, and the importance of material quality in software aesthetics. The video emphasizes the impact of software on daily life and the need to meet elevated expectations for digital interfaces through collaboration and creativity.

✨ Highlights

📊 Transcript

✦

Google Design team supports designers through editorial output, material design guidelines, and material components for UI.

02:10

They host the Span conference series to explore connections between design, innovation, and technology, highlighting makers in the community.

Span events have been held since 2014 in different cities worldwide.

The mission is to facilitate dialogue about art, science, design, and technology within communities.

Recent events in Pittsburgh and upcoming ones in Newcastle and Gateshead aim to tap into strong industrial and tech scenes for collaboration and inspiration.

✦

Highlights from the event "span17" sponsored by Google Design.

04:27

The event features speakers and essays centered around community and creativity.

Attendees are encouraged to engage on social media using the hashtag span17 and utilize the provided Wi-Fi.

It's Nice That, the organization behind the event, started as a university project and now reaches over a million people monthly, aiming to promote creativity.

✦

Collaboration with Google Design in Newcastle and Gateshead to explore art, science, design, and technology.

07:06

Region rich in creativity and heritage.

Immersive walks and data collection to create visualizations and soundscapes.

Events focused on mapping data visually for unique experiences.

Focus on bringing together talent from the Northeast for innovative projects.

✦

Environmental challenges faced by Newcastle and Gateshead from the Industrial Revolution are highlighted.

08:30

The Urban Observatory and innovative data collection methods are praised for making data and information accessible.

Artist Ed Carter is a featured speaker, focusing on site-specific musical compositions and interdisciplinary artworks.

Carter explores the relationship between architecture and music, emphasizing the role of architects in creating rhythm and dynamics in the built environment.

✦

The relationship between music and architecture has a deep historical connection.

11:07

Concepts such as measurement, space, and proportion are shared between music and architecture, influencing architects like Le Corbusier.

Musical terminology like rhythm and harmony also appears in architecture, emphasizing the mathematical and proportional aspects of both disciplines.

Janice and Arcus are highlighted as an architect, composer, and artist who effectively bridges the gap between music and architecture, emphasizing the Pythagorean concept of numbers in his work.

✦

The segment explores the intersection of digital media, art, music composition, and architecture.

13:49

Xenakis used mathematical principles to create architectural structures and graphic scores for compositions.

Xenakis developed the U-Pick system for graphic notation.

The importance of rhythm analysis in music composition is highlighted.

The speaker shares personal reflections on developing projects related to sound and rhythm, referencing childhood experiences.

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Projection mapping projects at 195 Piccadilly and Singapore Art Museum utilizing architectural proportions like the golden ratio rectangle.

16:18

Projects aimed to convey the intangible atmosphere of entering a building through compositions.

Structural 3D sequencer inspired by architect Michael Wilford's design was used in the projects.

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The use of geometric shapes in creating syncopated rhythms, overlaid patterns, and musical compositions.

20:08

Architecture creating experiences through barometric pressure readings as a graphic score for a string quartet performance.

Electric lighthouses project along the northeast coastline, reflecting on shipwrecks and unique rhythms of each lighthouse.

Key theme of interaction between place, time, and energy, with applications beyond architecture to different contexts and projects.

✦

Various art projects related to rivers, place, time, and energy are discussed.

25:06

One project utilized tidal energy to power instruments.

Another project used smoke signals to symbolize data.

Context is emphasized as crucial in interpreting information.

Place, time, and energy are viewed as a form of rhythm that provides meaning and context to information.

✦

Growth of opportunities for emerging artists in Newcastle region.

29:08

Affordable workspaces, artist-led collectives, and grassroots spaces have created a vibrant artistic community in the region.

Many artists are choosing to stay in Newcastle instead of relocating to London to develop their practice and grow their careers.

The Newbridge Project, established in 2010, has played a role in fostering the creative environment in Newcastle.

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Newbridge: Affordable workspace for artists and creatives fostering collaboration.

30:17

Provides necessary conditions for artists to experiment and practice, leading to the growth of similar models in Newcastle City Center.

Artist-led organization offering affordable studio and workspace, artist development programs, and exhibition opportunities.

Aims to bridge the gap between university, art school, and the art industry through events, workshops, and mentoring.

Creates a forum for shared learning and critical conversations among artists.

✦

Overview of the commission program at traditional gallery settings for regional artists to exhibit alongside international and national artists.

33:22

Projects include exploring environmental and political dimensions of urban food, large-scale projections, and live game shows.

Program aims to create a platform for artists to experiment, test ideas, and speak critically about their work.

Notable projects include 'Hidden Civil War,' engaging over 600,000 people in public spaces, and 'Echoes of Abstraction Too,' a transdisciplinary installation at the Lang Art Gallery.

✦

Highlights from the virtual reality exhibition installation.

37:47

The domestic sets were designed in a video game engine and recreated in physical space with imperfections and unlife-like characteristics.

The exhibition aimed to bridge the gap between digital and physical worlds, allowing viewers to interpret abstract works in new ways.

Each set was reinvented in virtual reality, with VR environments mapping exact properties of physical spaces.

The VR experience created surreal effects like suspended rooms in the ocean and floating objects.

✦

NewBridge Project Gateshead launches Collective Studio graduate development program with Newcastle University.

41:29

The program supports 20 recent graduates in creative disciplines to prepare them for the future.

Emphasis on learning through activities and creating a supportive community of cross-disciplinary practitioners.

Program based in Gateshead with upcoming exhibition called Reality Check featuring early career artists.

NewBridge Project Gateshead opening next Friday with a showcase of artists' work.

✦

Exploration of the relationship between technology, design, and visual art.

43:51

Visual art is intertwined with technology, influencing and being influenced by it.

It enables new multidisciplinary engagement, alters creation and distribution processes, and introduces new forms of art.

Artists are urged to respond to the surrounding social, environmental, technological, and political landscapes, shaping new expressions and perspectives.

The need for collaboration and investigation to define new artistic paradigms is emphasized, ultimately impacting how individuals feel and think.

✦

Importance of Material in Software Design

47:31

Smart paper and Quantum paper are discussed as metaphors for material in software design.

Motion Graphics and visual design cues play a crucial role in enhancing usability.

Software design is evolving and being compared to traditional design disciplines.

Rising expectations for software aesthetics highlight the need to meet user demands.

✦

Design process of Roboto typeface focuses on making characters more friendly and approachable.

52:15

Subtle changes, such as curved sides and optical illusions, were considered to create a versatile typeface suitable for different environments.

Roboto is seen as a living typeface that can be updated to adapt to changing needs and emerging technologies.

Importance of cities over countries, evolution of design, and the goal of creating timeless products that connect with users were discussed in the segment.

✦

Importance of collaboration between machines and humans in creating animations with a focus on natural transitions.

55:18

Power of details in animations to establish a connection with the audience and effectively convey a message.

Role of artists and designers at NASA in mission formulation, highlighting the significance of storytelling and design thinking in engaging the public.

Explanation of the significance of color selection in UI design, particularly through the material design palette, and the impact of colors on user interaction and visual appeal.

✦

Company transitioned to independence last year and launched successful products like Pokemon Go.

59:18

They aim to enhance the relationship between devices and users for a healthier lifestyle.

The team focuses on merging the real and fictional worlds to create engaging experiences.

They explore building user expectations for digital interfaces and emphasize the importance of intuitive software design.

The concept of 'smart paper' and 'Quantum paper' serves as a central theme for their initiatives, aiming to make software usage effortless and elegant for users.

✦

Evolution of Software Design in Relation to Industrial Design.

01:01:55

Software design is compared to industrial design in terms of beauty and material quality.

Expectations for aesthetics in software have increased as it becomes more prevalent in people's lives.

Importance of design in digital interfaces is emphasized to meet user expectations.

Software is compared to essential physical items like chairs and clothes in terms of impact on daily life.

✦

Discussion on a project involving a snake and the Baker Wall, split into three parts.

01:14:52

Growing up on the Baker Wall was influential, leading to a realization of differences between dreams and reality, particularly in relation to football.

The speaker reflects on challenges faced, including relegation and empty trophy cabinets, humorously referencing the club owner's belly.

Despite setbacks, the speaker expresses gratitude for the dreams instilled by their father and the smiles they bring.

✦

Speaker's journey from art school to The Guardian.

01:18:01

Collaboration on a student magazine and winning an award.

Impressing at The Guardian with unconventional analog techniques.

Emphasis on hard work and determination for achieving success without traditional skills.

Overcoming challenges like lack of computer skills and getting fired.

✦

Narrator becomes art director for a new magazine 'Seven' and collaborates with The Prodigy.

01:21:11

Richard informs the narrator of his new role, creating illustrations for obscure locations and situations.

The narrator receives a call from Liam of The Prodigy to design their new single cover.

Tasked with finding a laughing policeman for the track, the narrator embarks on a unique and challenging search.

The narrator's career progression from working in a bread factory to designing covers for The Prodigy highlights his unexpected creative ventures.

✦

Lessons Learned from Designing The Prodigy Album Cover

01:23:10

The speaker worked on multiple designs for The Prodigy album cover, only for a last-minute change to occur.

Despite feeling devastated initially, the speaker found unexpected growth and a new perspective from the situation.

Valuable lessons in self-editing and creativity were learned, emphasizing the importance of structure and intention in design work.

✦

Reflections on returning to hometown and nostalgia.

01:26:10

Discusses design project inspired by childhood home and architectural changes in the area.

Criticizes rapid and cheap construction of tower blocks leading to poor city planning.

Contrasts demolished modern buildings with Victorian terraces, emphasizing sentimental value of old architecture.

✦

Ralph Erskine's innovative approach to social housing in Sweden emphasized creating strong community bonds.

01:27:21

Erskine designed Terrace housing to promote close-knit communities by having neighbors from the same streets live next to each other.

His offices were located in the buildings he constructed, providing a stimulating environment with vibrant colors and shapes.

Erskine rebelled against brutalist architecture in Newcastle, inspiring innovative designs by creatively combining old materials to disrupt traditional forms.

His unique and artistic structures showcased his ability to blend different influences and create visually striking buildings.

✦

Artist discusses creative process for designing Beck's album cover.

01:31:04

Artist aimed for bold and simple designs with a photographic approach.

Various sketches were experimented with, including hexagon ideas influenced by past projects.

Final cover design centered around pop extravaganza theme for live performances.

Deluxe cover settled on hexagon design for a fun and globular aesthetic.

✦

Designing custom covers using transparencies for an Indie cover with a focus on simplicity and clean typography.

01:32:47

The process involves incorporating geometric shapes and drawing inspiration from album covers for video concepts.

Insights into the creation process are shared by the narrator, emphasizing the importance of a creative approach.

A new video collaboration with artist Miguel is mentioned, showcasing the creative partnership between the narrator and Rich Turley.

✦

Novak's senior director, Adam Finley, highlights the studio's expertise in motion design, large format video, projection mapping, and installations.

01:35:40

Finley expresses appreciation for collaborators and talks about the technological advancements in their projects.

Visualizations shown are pre-rendered content that is intricately designed, animated, and displayed as video files.

Overcoming challenges like live data integration led to a seamless presentation.

Finley credits the success of the project to the collaborative effort and the hard work of the team.

✦

Novak commissioned to create projection mapping for Centenary year of Spanish City building.

01:41:01

Novak, despite being inexperienced, traced a photograph to create a template for the projection content.

Doubt surrounded Novak's approach, but the forgiving nature of the building's white, mostly flat surface made it manageable.

The project marked Novak's early entry into large-scale projection mapping, highlighting determination and creativity in overcoming obstacles.

✦

Speaker shares a project involving hiring projectors for a presentation in 2010, leading to more opportunities.

01:43:20

Technical help from friend Andy was instrumental in the success of the project.

In 2016, tasked with creating a production mapping for the Royal Pavilion in Brighton, which was met with excitement and terror.

The complexity of the building presented challenges but also opened up new possibilities.

The project showcased the speaker's capabilities in production mapping.

✦

Discussion on production of piece about Indian soldiers in WWI at Royal Pavilion in Brighton.

01:45:00

Royal Pavilion in Brighton was used as temporary hospital for Indian soldiers during WWI.

Collaboration with QED for accurate portrayal of historical event.

Utilization of 3D scanning and UV mapping for high-resolution model of building.

Emphasis on technological advancements in enhancing media setups for experimental storytelling.

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Challenges in content translation and storytelling techniques.

01:48:52

Speaker worked on Dr. Blighty project at the Brighton Festival in 2016, collaborating with teams.

Despite budget limitations, final files were delivered successfully.

Project involved creating visual content, collaborating on music, and receiving technical support.

Speaker expresses gratitude to all involved in the project's success.

✦

Highlights from the event at Brighton Design Conference.

01:51:01

A great turnout with attendees from various locations.

Half of Brighton showed up after the team left.

Various speakers and presenters were thanked for their contributions.

The Google design team was praised for their hard work.

Attendees were encouraged to share thoughts and photos on social media.

Event content would be available on the design.google website.

✦

Feedback survey will be sent to viewers for the event, with responses anonymous.

01:53:09

Feedback is important for future event planning.

The next event will be in Mexico City in mid-November, with updates on social media.

Attendees are encouraged to grab another drink.

Speaker expresses gratitude for participation.

00:07hello hey good evening uh thank you for

00:10joining us tonight my name is Damian

00:12Corell I'm a creative lead at Google

00:14design based out of New York City Google

00:17design we are a Cooperative team of

00:20designers writers and producers at

00:23Google whose primary focus

00:25is to support and promote designers and

00:28their work both inside Google and Beyond

00:31one of the ways we do that is through

00:32our editorial output publishing articles

00:35regularly on design.google there we

00:38craft stories like what it means to

00:40develop a brand system in VR or how we

00:43might approach voice user interface

00:45design

00:47we also work closely with the material

00:48design team a team dedicated to creating

00:51design guidelines tools and resources

00:53these guidelines are a set of

00:55best-in-class principles for Designing

00:58clear and beautiful UI exploring

01:00everything from color motion iconography

01:02and typography

01:04we think of the work on material as more

01:07than just a system is also about seeking

01:10a deeper understanding of the workflow

01:12between design and engineering

01:14design and technology and developing

01:16tools that Foster a healthier

01:18collaboration

01:19and one of the tools one of the tools is

01:22our material components which is a set

01:24of modular and customizable UI

01:26components for web Android and iOS

01:30but one of the one of my favorite

01:31projects that we work on at Google

01:33design is is this one it's it's span

01:35span is our conference and talk series

01:38exploring connections and creative

01:39Innovation and design and Technology

01:42as a word and a concept span suggests

01:44the distance between thumb and little

01:46finger your hand span it's a maker's

01:48measure and to us it signifies our it

01:52signifies our emphasis on the makers in

01:54the design and Tech Community

01:57it also suggests the idea of spanning

01:58distances and bridging connections

02:00between practitioners from diverse areas

02:03of focus and even geographical locations

02:10we've been hosting span events since

02:122014 visiting cities that are

02:14particularly resonant with themes that

02:16we're curious about this is our second

02:18trip to the UK as we hosted span London

02:21in 2015. last year we were in Tokyo in

02:24Los Angeles and this year we're visiting

02:26three new cities Pittsburgh Mexico City

02:29and right here in Newcastle and

02:30gateshead

02:32there are always different speakers and

02:34attendees and even different themes at

02:36our events um but always the same

02:37mission to facilitate a dialogue within

02:40communities about art science and design

02:42and Technology

02:45just three weeks ago we hosted our one

02:47of our larger events in Pittsburgh where

02:50the thriving Design Tech and local maker

02:52Community gathered for a two-day event

02:54of talks demos and workshops similarly

02:56for Newcastle and gateshead we're

02:59excited to tap into a city with strong

03:02industrial routes in an active and

03:04engaged Tech and design scene

03:06and also like Pittsburgh an impressive

03:08amount of bridges seriously Pittsburgh

03:10has a lot of bridges

03:14additionally a tradition with these span

03:17events is our annual span reader this is

03:21the this is the third volume there's a

03:24number of essays from our Pittsburgh

03:25speakers and contributors this year and

03:28you all should have one in your tote bag

03:30if you don't have one please grab one

03:33there's a number of really good essays

03:37for this particular event we partnered

03:39with span alums it's nice that to help

03:42host some of the most interesting Talent

03:43here in Newcastle and gateshead so

03:46without further Ado I'd like to invite

03:48it's nice that's managing director Alex

03:51back to the stage to tell you more about

03:52tonight's program and get this evening

03:54properly started

04:02right here we go how are you you look

04:05very friendly you look great actually oh

04:07you guys so I'm the director of it's

04:10nice that and I'm going to guide you

04:11through first up huge thank you all for

04:14coming on a Thursday night it's been an

04:16amazing day so we thought I was gonna

04:17say on a rainy night but it wasn't

04:19raining

04:20um we also thanks to the amazing Google

04:22design for the support and making it

04:23happen and obviously our beautiful

04:25surroundings at the Baltic

04:27um before we start I've got the exciting

04:29job of running through some housekeeping

04:30so first up if there's a fire I mean

04:32that would be terrible but the Baltic

04:34are great at sorting that out there's

04:36fire exits at the back and at the side

04:37so don't worry about that

04:39um also there's toilet's out the front

04:40guys on the left goes on the right and

04:43if you're using social media tonight

04:44please use the hashtag span17 and if

04:47you're not why not you have to please do

04:51we're counting you guys to populate the

04:52feed we gotta beat Pittsburgh I mean

04:54they're nothing compared to newscaster

04:56and gets it so anyway amazing quotes

04:58feeds whatever you've got we'd love to

05:00hear about it that's part of it right

05:01the idea of spans about community so

05:03please contribute

05:05um you might need the internet to do

05:06that um Wi-Fi span 2017 and the password

05:09is lowercase Google design and all of

05:12the info on the schedule tonight is on g

05:14dot Co forward slash span 2017. if you

05:17forget but I'm sure what I'm going to

05:19take you through is so compelling you'll

05:20never forget that right here we go so

05:22before we start I want to talk to you

05:24very briefly about it's nice that has

05:26anyone heard of it's nice that yeah a

05:28few people know it thanks good

05:30um that makes this a bit easier and

05:32really our mission with it's nice that

05:34is to Champion creativity in all its

05:36forms and bringing that to a really

05:37broad audience so that's really it

05:39started as a one-week university project

05:4110 years ago at Brighton University and

05:43now we reach over a million and a half

05:45people every single month

05:46um the key and the reason that I love

05:48it's nice that and I still work it's

05:50nice that every single day and I'm

05:51excited to do that is the range of

05:53things that we cover right we don't want

05:55to be a graphic design magazine we want

05:56to be a creativity magazine so we cover

05:59everything from moving image

06:01to animation to architecture to Art to

06:05fashion and film their own way to film

06:06like I said this is one of our most

06:08viewed things

06:12lovely little guy always gets to laugh

06:14there he's what gets way more laughs

06:15than I do product design graphic design

06:18of course illustration

06:20Tech interactive miscellaneous things

06:23that's kind of my favorite category and

06:25it's nice that

06:26photography Publications and a whole

06:28heap more right so

06:29it gives you the idea of what I think is

06:31so special about it's nice that and why

06:33I'm so excited to have so many

06:34interesting people in one room

06:36we put that stuff online mainly on it's

06:38nice that.com which I hope you're aware

06:40of we also have a biannual magazine that

06:42we publish

06:44um and we do events like this and I

06:46guess because we're doing an event

06:47they're the most important bits right

06:49um so enough about us that's definitely

06:51not why you came here to listen about

06:53it's nice that I wanted to take you

06:55through why we're here why are we in

06:57Newcastle and gateshead we normally um I

07:00guess hold up in London and we're stuck

07:02in our own little London bubble why are

07:03we here in Newcastle gateshead and

07:05basically we've been collaborating with

07:06Google design for the past few months to

07:08help them bring span here and continue

07:11that mission they have this year of

07:12reaching cities Where Art and Science

07:14Design Technology intersect in new and

07:16intriguing ways

07:18um that felt especially relevant during

07:19our research for Newcastle and gateshead

07:21because it's a region with so much

07:24amazing creativity happening

07:26um so really as we were looking at

07:28different cities in the UK that weren't

07:30London there was an embarrassment of

07:32riches here that we couldn't ignore and

07:33an amazing Heritage in history so that's

07:36really really really why we came here it

07:38was a very a very easy choice

07:40and when you walked in I want to give

07:42you a bit of context when you walked in

07:43you would have heard the the soundscape

07:45and the visualizations on the wall

07:47um what they were is we've been here all

07:48afternoon

07:49um working with some amazing talent from

07:51the Northeast to create these amazing we

07:54went on these immersive

07:55um walks and collected data and had

07:58soundscapes and understood the

07:59surroundings that we're in

08:01um and then we basically mapped that

08:03data visually what you will see on the

08:05walls and you'll be able to experience

08:06it again at half time so

08:08um they they are those those bits of

08:11data those visualizations are

08:12representations of listen to this really

08:14different combined Airborne microscopic

08:17pollution particles and recordings of

08:19ambient City sounds there you go

08:22um basically we collect some data on a

08:23field walk and it was great

08:25um but the goal of them really is to

08:27shine a light on environmental

08:28challenges that Newcastle and gateshead

08:30have faced from the Industrial

08:31Revolution but also showcased the

08:33incredible creativity happening here

08:35today

08:36they were produced by novaka crepe

08:38Studio who you'll hear more from at the

08:40end Urban Observatory and amazing

08:41Innovative data collection thing

08:43happening here in Newcastle James

08:45Rutherford Ed Carter Tim Shaw all in

08:47association with us and Google design

08:49and I think they're a great

08:50representation of how creativity can

08:52make data and

08:55um I guess information really really

08:56super accessible so here there he saw

09:00them

09:01um so that brings us back nicely to here

09:02really is that that's that's the point

09:04that's why we're here right Champion

09:05creativity and to allow those

09:07conversations to happen and bring it to

09:08amazing audiences like yourselves so

09:11without further Ado here we go so this

09:14is what's going to happen tonight

09:15um you've seen the first two next we're

09:17gonna we're gonna have two speakers

09:19um then we're gonna have a little break

09:20have a few more beers then we're gonna

09:22have another two speakers and then we

09:23can have a few more beers sound good

09:26um so that just leaves me to hand over

09:28to our first Speaker he's an artist

09:30creating context specific musical

09:32compositions and interdisciplinary

09:34artworks for a whole host of incredible

09:36clients and institutions he's worked

09:38with us this afternoon the

09:40visualizations his name is Ed Carter

09:42please give him a massive warm welcome

09:43Ed

09:51thank you

09:53hello thank you very much

09:55it's been a great fun day actually it's

09:57been really good

09:58uh so I'll probably press the wrong

10:00button on this to get things started ah

10:02there's a surprise and I start so um I'm

10:06Ed Carton and uh as I say it's a one of

10:09my areas of work is creating

10:10site-specific

10:12um compositions and and

10:13interdisciplinary artworks and I'm I'm

10:15particularly interested in the way that

10:17Architects create a sense of Rhythm and

10:19Dynamics in the built environment

10:22um and uh there's a there are many

10:24people who've made this association

10:26between architecture and music over the

10:28years and I'm interested in how those

10:30observations how those thoughts can be

10:32applied to uh contemporary practice

10:39not like that

10:42maybe like that

10:46and one of the most famous phrases in

10:49doing this is is this term architecture

10:51is being compared to Frozen music and

10:53that's been attributed to both um Johann

10:55Van de guerta and and Frederick Von uh

10:58Von schelling but there were by no means

11:00the first people people start making

11:01these drawing these comparisons between

11:03music and architecture

11:05um Vitruvius said in his 10 books on

11:08architecture music also the architect

11:10ought to understand so that he may have

11:12a knowledge of the canonical and

11:14mathematical Theory so he's from his

11:16perspective there was a mathematical

11:17principle that underpins the two

11:19disciplines and brings them together

11:22um and a particularly fascinating guy uh

11:24Robert flood uh this is um his uh Temple

11:28of Music this is um it's a depiction of

11:32an architectural representation of his

11:33take on musical Theory and I I

11:35understand that's Pythagoras in the

11:37bottom there

11:39um uh so uh he said music is either

11:42positional or durational it is therefore

11:44evident that harmonic music is a

11:47Discerning of measurement so positional

11:49or durational so it's a spatial thing or

11:51it's a temporal thing

11:53um and this is obviously very

11:54influential to the architect Le

11:55corbusier who said music like

11:57architecture is time and space music and

11:59architecture alike are a matter of

12:01measure so he didn't really change many

12:03of the words there but um it was a nice

12:05room to

12:06notice what an interesting phrase it was

12:09um and so I was thinking like how how is

12:11this how how can you take this forward

12:13and take something from it and this is

12:15another phrase this is Santiago kalashro

12:17the uh the architect and he says I mean

12:18it's fascinating that musical

12:19terminology words like Rhythm meter

12:21Harmony are also used in architecture

12:24and so to my mind all these things are

12:27like all these terms they relate to

12:29proportion and and which can be

12:32expressed mathematically to through

12:34ratios

12:37um and I mean ratios in harmonic music

12:40uh they they create modes and scales and

12:43ratios in architecture create proportion

12:45and scale and that's been something

12:47that's applied widely and in a lot of

12:49different um genres throughout the world

12:53um one of the most well-known people uh

12:56who's uh just dropped my microphone

12:58excuse me uh who has operated across

13:01these um

13:03across these disciplines is the

13:05architect composer and artist Janice and

13:07Arcus

13:08um he um he Bridge arguably Bridge these

13:12disciplines in a in a way that no one

13:14else has has managed to achieve

13:17um but his principle was very

13:18mathematical uh it was a he says here

13:20the Pythagorean concept of numbers

13:22affirm that things are numbers or all

13:24things are furnished with numbers or

13:26that things are similar to numbers and I

13:28think as we do more and more creative

13:30practice based on digital media and more

13:32and more digital storage it's very hard

13:34to argue that things that can't be

13:36furnished with numbers at the very least

13:38I think it's a fairly strong case

13:42so this is um one of xanax's most famous

13:46structures it's the Phillips Pavilion

13:47that he did when he was working under Le

13:49core busier but for me one of the most

13:51interesting things is that he used the

13:53same mathematical principles in creating

13:54the graphic score for his composition

13:57metastasis which was then it was created

13:59as an orchestral piece of work

14:02um and then he as computer technology

14:04moved forward and he was able to do so

14:05he developed the U-Pick system it was a

14:07graphic notation system for creating his

14:10composition so he really did try and

14:11Bridge architecture composition and

14:14visual art and bring them all together

14:16but always through his approach to

14:18mathematical principles

14:20but in terms of my own approach and it

14:24summarized quite nicely by um the French

14:26philosopher I'm really Henri lafe and he

14:30wrote a book called rhythm analysis and

14:31in there it says that the Rhythm analyst

14:34is always listing out but he does not

14:36only hear words discourses noises and

14:38sounds he's capable of listening to a

14:40house a street a town as one listens to

14:42a symphony an opera of course he seeks

14:45to know how this music is composed and

14:47who plays it and for whom

14:49and in terms of um uh well I'm going to

14:53move forward with he says this phrase

14:54everywhere where there's an interaction

14:56between a place a time and an

14:58expenditure of energy there is a rhythm

15:01and so I started thinking about Rhythm

15:03throughout how I developed my own

15:06projects and it took me back to an

15:08example of

15:09um I've thought about and talked about a

15:11few times and this is uh I thought about

15:14how I first thought about making sound

15:16and I used to think when I was a child

15:18driving along in a in a car when we were

15:21going somewhere I would look at the road

15:23ahead and I would I would have I would

15:25do that that process that I think

15:27Honolulu forever was talking about think

15:28about rhythms and stuff as you walk past

15:30them and so in this in this example I

15:33suppose going back to his his

15:34terminology the place is the section of

15:36Road the expenditure of energy is the

15:39car moving along it and the time is the

15:41duration it takes to go along that

15:43stretch of road so as I was doing this I

15:45would think of it though as a as a

15:47waveform and think of that shadow as a

15:49as a probably as a low pass filter with

15:53a low frequency on the left and high on

15:54the right and I make that sound with my

15:56mouth and that was always really popular

15:58in the car as you can imagine for long

16:01Journeys and I thought if I can be this

16:04annoying with the three people around me

16:06maybe I can do it as a job and that's

16:09and so here's one of the examples of

16:11doing that

16:12um and this is a project uh I wanted to

16:15do something simple I was working with

16:16with Novak again and this is for the

16:18bafta headquarters at 195 Piccadilly for

16:20a a projection mapping they were doing

16:22for Lumia London and I wanted to do

16:25something where I took the architecture

16:27of the building and uh represented that

16:29rhythmically for the opening section of

16:30this composition

16:32and so for quite a simple example I

16:36looked at the Bays of the windows and um

16:38on the first floor so the green is I saw

16:40the Rhythm as one two one two three one

16:43two three one two three one two and the

16:46purple is one two three four one two

16:49three one two three four and that was

16:51the starting point for the composition

16:52and that sounded like

16:56this

17:00oh

17:20foreign

17:33and so um and similarly we did another

17:36project uh together at Singapore Art

17:38Museum and in this instance

17:41um I wanted to do something similar but

17:43I noticed when seeing the architecture

17:45of the building that I thought the

17:46architecture applied the golden ratio

17:48rectangle

17:50really uh with a lot of repeats

17:52throughout the building because this

17:53only actually the center section of the

17:55building it was a big arch that sort of

17:56spanned all the way around the audience

17:59um and so I did a similar thing with

18:00this and looked at in gold ratio terms

18:02and then used the proportions of these

18:04rectangles and their positions to to

18:06dictate The rhythms and also the

18:08relative notes that were being triggered

18:09within the composition

18:12and then play heads again moved across

18:14the building both horizontally and

18:15vertically so again the places the

18:18architecture the the location and then

18:20the expenditure of energy in this

18:22instance in lefevre's terms is these

18:24playheads moving across the building and

18:26then the time is the amount of time

18:28these players take which is something

18:29that you can choose and select and apply

18:32to the the architecture

18:34into your course so this is another

18:36project uh which kind of had a similar

18:38starting point

18:40um it was first commissioned for sage

18:41gateshead next door and then also uh at

18:44the the Lowry in Salford and this also

18:47took um architectural proportions

18:50um as the starting point for a

18:51composition

18:53um but also I wanted to do something to

18:55capture something a bit more about that

18:57intangible thing of X what about

18:58atmosphere about the the the the

19:00experience of entering a building and so

19:04um this is a great building for doing

19:05the the structural uh comp the

19:08structural secret the 3D sequencer I

19:10suppose the architect Michael Wilford

19:13had based the search on a number of

19:15geometric shapes which immediately gives

19:17loads of syncopated rhythms from the

19:19three-sided four-sided and six-sided

19:21shapes or creating their own patterns as

19:23they overlay each other

19:24and so this sounded like this

19:31[Music]

19:32[Applause]

19:37[Laughter]

20:00foreign

20:01[Music]

20:06a different sauce I didn't want it just

20:08to be about the architectural form I

20:09wanted to think about what the

20:10architecture had tried to create in

20:12terms of experience and as an analogy

20:15for that I took barometric pressure

20:16readings with a mechanical barograph

20:18over the course of eight weeks in this

20:20instance and use them again as a graphic

20:22score as a second Melody as part of the

20:25the final performance and so that was

20:28then uh scored

20:31for a string quartet

20:35[Music]

21:06foreign

21:11foreign

21:18this idea of an interaction between a

21:21place a time and an explanatory of

21:23energy I was thinking uh how can you

21:26like that's an interesting approach and

21:29how can you apply Beyond architecture

21:31does it relate to a broader

21:33um a broader

21:35broader set of contexts with different

21:38types of projects and so I thought back

21:40to other projects I've done so this was

21:41the full slice of Durham which was

21:43commissioned uh for the random acts for

21:46channel 4. and the concept behind this

21:49was about a period as the first electric

21:51lighthouses were installed along the

21:53northeast Coastline and there were took

21:5510 of these lights and the concept was

21:57about looking back at uh from seeks it

21:59was it was a huge number of shipwrecks

22:01along that Coastline until the electric

22:02lighthouses were installed

22:05um so in this instance the the place was

22:07uh conceptually looking back from a boat

22:09looking back at the at the coastline

22:13um the uh the energy was the lights

22:15flashing and the time was based on the

22:18fact that obviously all lights have they

22:20have all have distinctive characters so

22:22you can identify where you are along the

22:24coastline so each Lighthouse has its own

22:26Rhythm inheritance inherent within it so

22:29in terms of what rather than the

22:31architecture being the the data source

22:33in this case it was the 1890 list of

22:35light which you can get hold of and find

22:38out what if you next time you need to

22:40know what Lighthouse flashing Rhythm you

22:42have near nearby a hundred years ago

22:44that's where you go to

22:47and it was installed as a um a 10 light

22:50installation and a coral composition

23:00[Music]

23:06[Music]

23:13but tomorrow

23:15[Music]

23:27[Music]

23:45uh

23:48foreign

23:49[Music]

23:58[Applause]

23:59[Music]

24:06so that was um so in that instance the

24:10composition and the lighting was uh

24:13taken from the exact same data source

24:15and each each light in each note was

24:17related back to this um this data set I

24:20suppose

24:21and so another project which was a local

24:24right out the front of here actually on

24:26the river tine uh was flow which was a

24:28collaboration in 2012 with our project

24:30who make these incredible

24:32um wooden electronic instruments

24:36um and the concept behind this was

24:37looking at the cyclical nature of the

24:39river and that the cyclical nature of

24:41our relationship with our waterways

24:44um

24:45and again uh there's this underpinning

24:48thing of what the place in this instance

24:50going back to Lafayette for the place is

24:52the river tine the expenditure of energy

24:54is the tidal River moving underneath the

24:56tide wheel to power the instruments and

24:59there and the the time is the amount of

25:01time it takes and and the amount and and

25:03how that and how those things are all

25:06interwoven so this idea of place time

25:09and energy expended can be applied

25:10really to a broad range of contexts and

25:12I've

25:13thought about it in terms of the

25:15projects so whether it's relating to the

25:16chronology of um uh of of the

25:19experiences of people are involved in a

25:21Lifeboat disaster uh in in cm and an

25:24instrument and composition that was

25:26based on that

25:27um about the death of cancerous cells in

25:29a collaboration with Northern Institute

25:30for cancer research uh or um in this

25:33instance it was um smoke signals which

25:36was um based on email interactions and

25:38for anyone who's interested working with

25:40smoke to represent data is a fantastic

25:43analogy because it really is the case of

25:44the more smoke you put in the less

25:46evident any information becomes because

25:48you can't see anything

25:51um

25:51so there's always this this this this

25:53this idea as I've ever said the place

25:56the time and the energy expended and it

25:58creates an image and even if that energy

26:00expend is just the movement of an eye

26:03across a page in this case uh the the

26:06energy expended with changes to the

26:08landscape it was a commission for

26:09Ordnance survey um based on the Chain

26:12working with the architect Nikki Kirk we

26:14worked together to create this structure

26:17um and so why why is this of interest to

26:20me this idea of like Place time and

26:22energy expended being uh sort of how the

26:24fact that it can be interpreted as

26:26Rhythm why do I find that interested and

26:29I think I'm interested in it because I

26:30think place and time and energy are also

26:32the underpinnings of providing a context

26:35for anything and obviously without any

26:37context pretty much any information is

26:40is meaningless and so I suppose

26:43um I suppose for me uh

26:45there's this idea of Rhythm and context

26:48are really the underpinnings of all the

26:50projects I tried to do and they kind of

26:52provide the fundamentals of um of the

26:55narrative that really is um what most of

26:57my work is about so thank you very much

26:59for listening

27:10Ed thank you so much so philosophy

27:13architecture sound and data just as what

27:16you're expecting wasn't it so anyway

27:17right our next speaker is the director

27:19of the New Bridge Project an artist-led

27:21Hub supporting the creation of new

27:23pioneering Contemporary Art practice and

27:26they've also just excitingly opened up a

27:28new space in gateshead around the corner

27:30to hear more please welcome Charlie

27:32Gregory

27:40thank you

27:46hi everyone uh I'm Charlie I'm director

27:49of the Newbridge Project based here in

27:51Newcastle so I'm going to talk a little

27:53bit about what we do at Newbridge and

27:55some of our projects that I thought

27:57might be relevant tonight

27:59but first I was going to tell you a

28:01little bit about myself

28:03I moved here to study fine art at

28:05Newcastle University I graduated eight

28:08years ago now even though it feels like

28:09it was still only two

28:12um I've in that time I've really seen

28:15Newcastle grow and change a lot in in

28:18the 12 years I've lived here

28:20and when I graduated I probably like a

28:23lot of other people had literally no

28:25idea what I was going to do with my

28:27degree and I decided to remain in the

28:30region

28:31um but but they're only a small number

28:33of opportunities for emerging artists at

28:35that time and we found it really

28:37difficult to find affordable workspace

28:40and I just couldn't figure out how you

28:42get on that ladder and how you kind of

28:44break through into the the art world as

28:48such

28:49now I look around Newcastle and it's

28:52filled with numerous artist-led

28:53collectives DIY maker groups Grassroots

28:56spaces and it's creating a really

28:59exciting and vibrant place to be

29:01and instead of automatically relocating

29:03to London and I see lots of artists

29:05remaining in the region using our city

29:08as a base to work from to develop their

29:10practice and grow their National and

29:12international careers from the Northeast

29:14and why is this what what has changed

29:19there are affordable workspaces for

29:21creatives now there's there's loads of

29:23them actually and there are spaces to

29:25experiment and test out ideas but most

29:27importantly there's a real thriving

29:30creative Community to be part of and I'd

29:33like to think Newbridge has played a

29:35role in that

29:38so the Newbridge project is an

29:40artist-led Community it's based in

29:42Newcastle City Center and it was set up

29:45in 2010 by Two Fine Art graduates from

29:48Newcastle University starting out life

29:50in Norm house a five-story office block

29:53it grew from the desire and the need to

29:56create truly affordable workspace for

29:58artists and makers in the city center

30:00and generate a supportive Community a

30:04place where artists and creatives could

30:06work and make but also meet socialize

30:09and collaborate

30:12so at the beginning of the beginning of

30:15this year we we moved house we moved to

30:17Khalil house and like many Grassroots

30:20spaces we occupy buildings that await

30:23Redevelopment meanwhile spaces and these

30:26spaces because of their peppercorn rent

30:28they allow artists the necessary

30:30conditions to experiment and often to

30:32continue to practice

30:34and since 2010 many more groups and

30:38initiatives have adopted a similar model

30:40to Newbridge and have inhabited

30:43buildings within Newcastle City Center

30:45generating a real genuine creative Hub a

30:49critical mass of makers and thinkers all

30:51based in one square Block in the city

30:53center and that's the East Pilgrim

30:55Street site just just at the bottom of

30:58Northumberland Street

31:00now an important element of Newbridge is

31:04that we are artists-led

31:07all our initiatives and our programs are

31:09shaped by and for the artists that they

31:12aim to support

31:13our vision is one that is shared it's

31:16Collective

31:18a new bridge has grown organically Not

31:20By Design or from policy but from the

31:23needs and desires of artists

31:26and we support artists in three main

31:29ways

31:33firstly through space

31:35we provide affordable studio and

31:37workspace to over 80 artists working

31:39across disciplines our spaces provide

31:42flexibility to experiment and to push

31:45boundaries to be brave and not be

31:48constrained by commercial motivations

31:50only

31:53our building is equipped with a dark

31:55room with tilt wood Workshop Hands-On

31:58film lab and numerous project and

32:00rehearsal spaces

32:02all of these initiatives are Ronin

32:04shaped by the artist members themselves

32:07we also provide co-work and communal

32:09space helping to nurture that creative

32:11community

32:16secondly through the artist development

32:18program through our artist development

32:20program so practice makes practice

32:22focuses on developing artistic talent

32:24equipping artists with the necessary

32:26skills to manage their practice helping

32:28to bridge that gap between University

32:30between Art School the studio the

32:34workplace the gallery and Beyond

32:38it's a regular program of events

32:40workshops opportunities talks field

32:43trips socials exchanges meant and

32:47mentoring creating a forum for shared

32:49learning for critical conversations to

32:51happen and for alternative models of

32:53practice to start developing

32:56from Basic things such as how to set up

32:58a self-employed to potluck meals on

33:02workshops to workshops on how to sonify

33:04dry ice

33:08and thirdly through our exhibition and

33:10commission program

33:12we provide space outside of an

33:14Institutional framework and traditional

33:17Gallery setting to experiment to test

33:19bed ideas and to act as a springboard

33:22giving a platform to Regional artists to

33:24exhibit alongside International and

33:27National artists

33:28creating a space to make work and the

33:31framework to speak about it critically

33:34and all of this is shaped by our studio

33:37members the program is responsive and it

33:40reflects diverse interests

33:43so from projects such as Urban organisms

33:46that explore the environmental and

33:48political dimensions of urban food

33:50production and consumption

33:54to projects such as thin air by Stefan

33:57Levering and Liam Liam Miller a series

33:59of large-scale projections exploring the

34:02practice of film making through working

34:04with extreme retinal and Sonic scenarios

34:08Levering is a lensless camera to explore

34:11the physical and technological limits of

34:13the video

34:17to projects such as the Regeneration

34:19game by baz a live game show based on

34:23the classic generation game with a

34:24little bit of a twist

34:26so the Regeneration game explored the CD

34:29business of inner city regeneration

34:30through the format of a of a game show

34:33and looked at the role played by artists

34:35within this complete with a conveyor

34:37belt that was powered by an artist

34:39riding a fixed gear bike

34:44to projects such as transparent by

34:46polish artists Conrad smolenski and

34:49hanza jamoski which featured a specially

34:52designed and fabricated large-scale

34:54treadmill for eight performers to walk

34:56on daily as part of a precisely scripted

34:59scenario of live actions which explored

35:02Rhythm order and vibration

35:06foreign

35:08the largest project that we delivered

35:10today hidden Civil War which took the

35:13form of a month-long Festival where we

35:16worked with over 90 artists and

35:17activists and it saws move out of the

35:20gallery space and into the public spaces

35:22of the city

35:24the project aimed to expose clay and

35:26present evidence of a hidden Civil War

35:28happening in Britain today

35:33and hints of a war included over 20

35:35events an exhibition a film festival and

35:37newspaper across seven venues and 12

35:40public sites engaging over 600 000

35:43people and again we worked with all of

35:46our studio members to to shape this

35:49program and to curate it

35:54to a recent commission that we delivered

35:56in partnership with the Lang art gallery

35:58now this is a bit of a mouthful so

36:00Echoes of abstraction too and the

36:03bottomless pit of our trailers got it

36:06out

36:06it's always commissioned for regional

36:09artists Adam Goodwin Jamie Cook Paul

36:12Trickett and James Pickering working

36:14under the occasion Collective

36:17and they created a transdisciplinary

36:19installation in the Lang Art Gallery

36:21featuring physical installations virtual

36:24reality and interactive sound

36:27the installation was responsive to and

36:30Incorporated pieces from the Lang's

36:32modern and contemporary painting

36:33collection as well

36:36so I asked Adam before this talk to

36:39describe the intention behind the

36:41project and he said

36:42we started out with the idea of just

36:45wanting to make the Sims real

36:48then the exhibition contained three

36:50domestic sets installed in the gallery a

36:53bathroom a kitchen and a bedroom and

36:56these three sets were each designed in a

36:58video game engine

37:00they were then recreated and rebuilt in

37:02physical space in the physical space of

37:04the gallery including every imperfection

37:06and unlife-like characteristic which was

37:09in the virtual model

37:12attempting to recreate the digital world

37:15in the physical and the outcome was

37:17something that was slightly adjacent to

37:19reality creating a feeling that

37:21something was just not quite right and

37:24resulting in an augmented sense of

37:26reality

37:31and each set Incorporated the works from

37:35the lungs permanent collection all from

37:37the abstraction movement placing them in

37:40these domestic spaces allowed them to be

37:42viewed and interpreted in new ways

37:44giving a sense of ownership to the

37:46viewer

37:47and the show started to ask how can we

37:50move ideas of abstraction that we're

37:52historically being explored in a

37:54painterly fashion into a conversation

37:56with the digital world

38:02each of the domestic spaces was

38:04reinvented in virtual reality

38:07the VR environment mapped the exact

38:09exact Visual and dimensional properties

38:11of the physical spaces bridging that gap

38:14between the digital and the real world

38:16each VR environment responded to the

38:19materials and objects in each of the

38:21rooms

38:22for example the bathroom played with

38:24ideas of water and nautical

38:26paraphernalia and when wearing the VR it

38:29felt as if the room was suspended in the

38:31ocean

38:39VR allowed the impossible to happen in

38:42the gallery setting elements begun began

38:44to fly around the room and float in

38:46space objects were endlessly dripping

38:49and the floor started to take on

38:50properties of water

38:54elements such as the still lives and

38:56objects from the painting were also from

38:58the paintings were also reappropriated

39:00and reanimated and then abstracted into

39:03the VR and the paintings dictated each

39:06environment the kitchen became a

39:08non-world

39:10and the bedroom was floating in space

39:16the exhibition was also used as a set

39:18for a film by the four artists the film

39:22sought to reimagine artificial

39:24intelligence source code

39:26the script was written by AI chatbots

39:29talking to each other

39:31and the outcome was pages and pages long

39:33mostly understandable conversation with

39:36occasional left field tangents at one

39:39point the chatbot started quoting Queen

39:42lyrics to each other for quite a long

39:44time

39:46and the actors then played the chat Bots

39:49within this within the gallery

39:51installation using these physical sets

39:54as film sets

39:55the actors read from the script directly

39:58they then started to respond through

40:00physical movement and free Improv

40:03to an audio playback of the reading and

40:06this process was used to start to try

40:07and imagine a route to transhumanism and

40:10the Final Act of the film representing

40:13AI breaking through the Turing test

40:16so I'm going to play a shot clip of the

40:18film it's still work in progress so this

40:21is a bit of a sneak peek

41:18laughs

41:19so what is next for NewBridge

41:22uh we have recently launched a new

41:25graduate program graduate development

41:28program that is in partnership with

41:29Newcastle university called the

41:31collective Studio

41:33and the collective studio will support

41:3520 recent graduates each year from

41:37across creative disciplines this year's

41:40cohort is made up of creative writers

41:42Visual and digital artists artists

41:45experimental sound artists curators

41:47Architects filmmakers photographers and

41:49designers

41:50it will follow an educational philosophy

41:53that Advocates learn and chosen

41:54activities preparing the individuals for

41:57an uncertain and rapidly changing future

42:00and the ultimate aim is is to create a

42:03collective a supportive and Vibrant

42:06Community of cross-disciplinary

42:08practitioners

42:09who will shape their own learning and

42:11generate a culture of peer support and

42:13collaboration

42:16and this will all be based in our new

42:18space in gateshead which is just up the

42:20road on the High Street which is being

42:22built right now as you can see so it's

42:27quite exciting for us to have a space on

42:29this side of the river as well as our

42:31spacing gate in Newcastle

42:35and the New Bridge Project gateshead

42:37will open next Friday Friday the 13th

42:40I'm sure nothing possibly will go wrong

42:43with a new exhibition called reality

42:47check and that features eight early

42:49career artists that have undertaken our

42:51pilot graduate program in partnership

42:53with the university as well and of

42:55course you are all welcome to to come

42:58along next Friday at 6 00 PM

43:01little plug there

43:04um so I just wanted to finish on one

43:07last point

43:09when I was invited to talk here this

43:11evening

43:12um my first reaction I've got to be

43:15honest it was

43:17oh I work in the visual arts what what

43:20contribution do I have to make to

43:23technology and design and while deciding

43:26what to present tonight I realized that

43:28actually so much of what we do and the

43:31work we do is is rooted and influenced

43:33in technology and design practices

43:35to the hidden and practical applications

43:37to the more obvious ways in which we use

43:39technology

43:41and and how it is changing the very

43:43landscape of our interactions and

43:45culture explored through the work of The

43:47Echoes of abstraction project and I

43:49think visual art is not separate to

43:51technology and design it is responsive

43:53to it and it also influences it and it's

43:56embedded within its practice

43:58it allows audiences to engage in new

44:01multi-disciplinary ways and it changes

44:04the processes of creation and

44:06distribution

44:07it provides us with new tools for

44:09expression

44:11and it generates new art forms all the

44:14time

44:15and we cannot exist as a singular sector

44:18it is integral that artists investigate

44:20and respond to the social to the

44:22environmental technological and

44:24political world around us

44:27defining new paradigms of expression and

44:30taking is where we expect at least

44:33and ultimately changing the way we feel

44:36and the way we think

44:37thank you

44:38[Applause]

44:51Charlotte thank you so much right time

44:53for a little break now but before you go

44:55before you start shuffling around

44:56remember span is about collaboration so

44:59you have my complete permission to grab

45:02a drink taking the visuals and go and

45:04speak to someone you've never spoken to

45:05before and see if there's something you

45:07can do together

45:08um whatever you decide to do though use

45:11the hashtag span17 and we will see you

45:13back here at 8 45 thank you very much

45:18[Applause]

46:04the current way of doing things was

46:06clashing in all kinds of ways because we

46:08hadn't been thoughtful about the physics

46:09of it why don't we take that and run

46:12with that a little bit and see if we

46:13could figure out

46:15you know what is this made of what is

46:18the material that our software is made

46:19of if in the real world we build

46:21expectations for how something will

46:23behave because we have a mental model of

46:25what it is how do we start to build

46:27expectations in the user's mind about

46:30how a digital surface

46:33foreign

46:41way of doing things was clashing in all

46:44kinds of ways because we hadn't been

46:45thoughtful about the physics of it why

46:47don't we take that and run with that a

46:49little bit and see if we could figure

46:51out

46:52you know what is this made of what is

46:55the material that our software is made

46:56of if in the real world we build

46:58expectations for how something will

47:00behave because we have a mental model of

47:02what it is how do we start to build

47:04expectations in the user's mind about

47:07how a digital surface will behave when

47:09we don't have a preconceived notion of

47:11it we don't know what it's made of with

47:13the Advent of smartphone Technologies

47:15and displays we have paper resolution in

47:19our devices and so papers is just a

47:21natural space natural place to start for

47:23material but

47:25our paper wasn't paper it's digital

47:29um it's just pixels John came up with

47:31the idea of smart paper Quantum paper

47:33and that idea of it being mostly paper

47:38like served as a rallying cry and as a

47:41kind of a mental and emotional focal

47:43point for the whole initiative material

47:45is the metaphor in the sense that

47:46physical objects have physical

47:48properties to take that and say software

47:51has mass if we can build on that then we

47:54can get people to a point where they're

47:56sort of effortlessly using software and

47:58and it feels elegant to them your users

48:01on the other end of your application

48:02they're not here to experience your

48:05application they're just trying to get

48:07through their day and anytime they get

48:08tripped up by something that doesn't

48:10work the way they expect it to

48:12you know that's your failure all of the

48:14Motion Graphics and all of the visual

48:16design in terms of shadowing and depth

48:18and layers those are all there in

48:19service to give you some cues about

48:21where things live how things are

48:23organized what's the hierarchy and

48:25that's in service of the usability

48:27all the traditional design disciplines

48:28that we typically associate with

48:30physical Goods they've reached a certain

48:32status in terms of

48:34of beauty and software design is

48:40extremely young at some point and the

48:43point's not too far from today

48:45designing digital interfaces is is going

48:48to really have the full range of surface

48:53material quality that industrial design

48:56has today we've gotten to a point where

48:59software becomes an omnipresent tool in

49:04your life as as present as the chair or

49:06the clothes that you wear

49:08and I think that raises the bar

49:09significantly on people's expectations

49:12for even just the Aesthetics of the tool

49:15the beauty of it we've only just gotten

49:18to the point where we could begin to

49:21deliver on those expectations

49:23[Music]

49:32[Music]

49:50foreign

49:51[Music]

50:34thank you

50:41[Music]

50:43it was really important for us to have a

50:46type system that had flexibility

50:49we have a lot of different weights and

50:51different widths to serve all of the

50:54different places that we need we don't

50:56just have a bold title and regular text

50:59we can be much more subtle by going with

51:01a medium weight for the title for a very

51:04large display you can use the thinner or

51:06the lighter weight

51:08A Step Beyond what we're used to in a

51:11lot of UI type systems where there's

51:13just a bold and a regular historically

51:15Roboto had a very small counter on the

51:17top of the r

51:19is subtle but it gives it more of a

51:20serious character as we wanted to make

51:23it more friendly we opened up the r here

51:25you don't think of characters as having

51:27postures but they kind of do right so

51:29this was our last R and then now we're

51:31more relaxed we did something similar

51:33with the lowercase a as well a little

51:36Loop down there at the bottom opened up

51:38a little bit more the curved sides of

51:40the D or the O going from Square dots to

51:44the rounded dots all those little

51:46details together add up to a different

51:48feeling it became more approachable and

51:50more friendly we also wanted to add the

51:53typographic niceties that we're used to

51:55seeing in print for the italics what are

51:58the optical illusions that happen when

52:00you slant letters and how do we correct

52:02those you can see things like the

52:04characters that are around are actually

52:06slanted a little bit less all of those

52:09little things help to compensate

52:11the result is a typeface that works in a

52:13lot more environments one of the unique

52:15things about designing for digital

52:18environments is that you can update the

52:20types and we really see Roboto as a

52:23living typeface as needs change and as

52:25we introduce new form factors as we need

52:28it to do more things we can continue to

52:30revise and continue to update it and

52:32we're going to be doing it for what it's

52:34purposed for

52:36[Music]

52:40foreign

52:47[Music]

52:56[Music]

53:01it's all about cities I think I think

53:03countries are an outdated format I think

53:05cities are where it's at and nobody

53:08bothers about the boundaries the design

53:10crosses all these boundaries seamlessly

53:14this is

53:24typography

53:33is

53:38[Music]

53:45I think material design should help you

53:46free up your times that you're spending

53:49more time on the conversations you want

53:50to be having

53:51[Music]

53:56design is always evolving we're

53:59constantly learning about user behaviors

54:01and finding new ways to improve our

54:03products

54:04we're fascinated by the fact that design

54:06never stands still

54:09and sometimes the world seems to be

54:10going faster and faster and faster and

54:14yet at the same time people buy

54:16magazines because people still love

54:19those material things

54:25create something that truly is so

54:27different that you'd want to keep

54:28forever

54:34[Music]

54:48um

55:02foreign

55:04[Music]

55:07what you see here is always a

55:10recombination of the things network was

55:11trained on this particular network was

55:13trained on pictures of animals and

55:14insects and so what you get is these

55:16crazy recombinations of animals and

55:18insects so this is now kind of a hybrid

55:19of things that the machine came up with

55:22and that I came up with and the result

55:24is kind of a weird collaboration between

55:26machine and human

55:30in the animation you have I mean 200 to

55:33300 milliseconds of time to have a

55:36transition happen so what in there can

55:38you make not feel symmetrical not feel

55:40mechanical but feel organic and natural

55:43I think those details in there can be

55:45very powerful

55:46[Music]

55:53is

56:02foreign

56:13thank you

56:18[Music]

56:23we all are just kind of social animals

56:26we like to hang out we like to see and

56:29be seen and I think that's what these

56:31projects all try to highlight

56:34[Music]

56:49[Music]

56:51you don't hear about artists and

56:52designers at Nasa because it never

56:54existed before so mostly I work in

56:57Mission formulation where I help

56:59engineers and scientists design and

57:02brainstorm New Missions using design

57:03thinking

57:05you really have to become a versatile

57:07designer you got to show them

57:09storytelling it's illustration really

57:11introduce and get jpl's feet wet and

57:13design and art in general storytelling

57:16and narrative it really allows a user

57:18and audience to be connected to the

57:21thread and the big message of what

57:23you're doing so it's a really important

57:24submission formulation because the

57:26public needs to know why this is

57:29important we have so many things to

57:31discover it's an endless exploration

57:34Expedition

57:35[Music]

57:43there are no wrong colors

57:48what matters most is how you use them

57:51but with such a broad spectrum to choose

57:54from how do you know which colors will

57:56work for you the material design palette

57:59provides a simple smart approach to

58:02building with color

58:03starting with the primary 500s it scales

58:07from light to dark offering a variety of

58:09carefully chosen values these color

58:11ranges are then applied to different

58:13elements in the UI

58:15the 500s are perfect for describing the

58:17dominant theme in your product and are

58:19great for toolbars

58:21from there scale up to the 700s for

58:24status bars or down to a 300 for

58:27secondary information

58:29accent colors are brighter and more

58:31saturated they encourage user

58:34interaction giving your UI subtle but

58:37considered colourpops they are perfect

58:40for highlighting primary action buttons

58:42or fast standard buttons switches

58:45sliders and more the system for thinking

58:48about color is powerful immersive and

58:52completely adaptable to any application

58:55whether your brand is Poppy and bright

58:57or seriously subdued material design

59:00makes color work for you

59:02start building

59:04get to know the fundamentals of color on

59:07google.com

59:08[Music]

59:13we just spun out as an independent

59:15company only last year and since then

59:18we've launched Pokemon go which has been

59:20a great success we're really trying to

59:23improve the relationship I guess between

59:26these devices like phones with the

59:28person using them to enhance and create

59:31a healthier lifestyle pattern our team

59:33is constantly looking for opportunities

59:35to find interesting mixes of the real

59:38world and the fictional world you're out

59:41in the real world you're interacting

59:42with real objects and real people but

59:44we're trying to create a really

59:46compelling experience where you're going

59:48outside more interacting with other

59:50people and your family in some sense

59:52it's already working

59:54[Music]

01:00:02the current way of doing things was

01:00:04clashing in all kinds of ways because we

01:00:06hadn't been thoughtful about the physics

01:00:07of it why don't we take that and run

01:00:09with that a little bit and see if we

01:00:11could figure out

01:00:13you know what is this made of what is

01:00:15the material that our software is made

01:00:17of if in the real world we build

01:00:19expectations for how something will

01:00:20behave because we have a mental model of

01:00:22what it is how do we start to build

01:00:25expectations in the user's mind about

01:00:27how a digital surface will behave when

01:00:30we don't have a preconceived notion of

01:00:31it we don't know what it's made of with

01:00:33the Advent of smartphone Technologies

01:00:36and displays we have paper resolution in

01:00:39our devices and so papers is just a

01:00:41natural space natural place to start for

01:00:43material but

01:00:45our paper wasn't paper it's digital

01:00:49um it's just pixels John came up with

01:00:51the idea of smart paper Quantum paper

01:00:54and that idea of it being mostly paper

01:00:58like served as a rallying cry and as a

01:01:01kind of a mental and emotional focal

01:01:03point for the whole initiative material

01:01:05is the metaphor in the sense that

01:01:07physical objects have physical

01:01:08properties to take that and say software

01:01:11has mass if we can build on that then we

01:01:14can get people to a point where they're

01:01:16sort of effortlessly using software and

01:01:18and it feels elegant to them your users

01:01:21on the other end of your application

01:01:23they're not here to experience your

01:01:25application they're just trying to get

01:01:27through their day and anytime they get

01:01:29tripped up by something that doesn't

01:01:30work the way they expect it to

01:01:32you know that's your failure all of the

01:01:34Motion Graphics and all of the visual

01:01:36design in terms of shadowing and depth

01:01:38and layers those are all there in

01:01:40service to give you some cues about

01:01:42where things live how things are

01:01:44organized what's the hierarchy and

01:01:45that's in service of the usability

01:01:47all the traditional design disciplines

01:01:49that we typically associate with

01:01:51physical Goods they've reached a certain

01:01:52status in terms of

01:01:55of beauty and software design is

01:02:00extremely young at some point and the

01:02:03point's not too far from today

01:02:05designing digital interfaces is is going

01:02:09to really have the full range of surface

01:02:14material quality that industrial design

01:02:17has today we've gotten to a point where

01:02:20software becomes an omnipresent tool in

01:02:24your life as as present as the chair or

01:02:26the clothes that you wear

01:02:28and I think that raises the bar

01:02:30significantly on people's expectations

01:02:32for even just the Aesthetics of the tool

01:02:35the beauty of it we've only just gotten

01:02:38to the point where we could begin to

01:02:41deliver on those expectations

01:02:44[Music]

01:02:50foreign

01:02:57[Music]

01:05:49foreign

01:05:55foreign

01:06:05[Music]

01:06:15[Music]

01:06:23[Music]

01:06:49[Music]

01:07:04foreign

01:07:25[Music]

01:08:22[Music]

01:08:27foreign

01:08:29[Music]

01:09:25[Music]

01:09:29foreign

01:09:35[Music]

01:09:45foreign

01:10:26foreign

01:10:42[Music]

01:11:54just Just Talk Amongst yourselves while

01:11:56we saw the projector thanks

01:12:24so it's because it was in crime

01:12:28we just need this one up now yeah

01:12:33so yeah

01:12:51[Music]

01:12:59right never in doubt was it

01:13:01um so our third speaker

01:13:04um sorry welcome back that's very rude

01:13:05to me wasn't it welcome back

01:13:07um

01:13:07did you have a nice drink

01:13:09yeah yeah excellent did you did you look

01:13:11very rested actually you look you look

01:13:13you look ready

01:13:14um and you need to be ready for this

01:13:16next one so next up we have don't say oh

01:13:19God Jimmy

01:13:23stop we have graphic artist video

01:13:25director whose work combined handmade

01:13:27collage drawing painting and Screen

01:13:30Printing more importantly he's a firm

01:13:32it's nice that favorite

01:13:34um and also won the most lovely men you

01:13:35could ever meet please give it up for

01:13:37Jimmy Tyrell

01:13:42already

01:13:46hi guys how's it going how's it going

01:13:48this accent is from here it's from the

01:13:50city Newcastle Newcastle

01:13:53um what if I do where's the little make

01:13:55thing the other thing I said why I man

01:13:59because that's the first thing when you

01:14:00got to London I lived in London for the

01:14:02last 15 years you go down there and

01:14:04people say hey man you're from the tune

01:14:06yeah going down the tune to drink a

01:14:09bottle of broon yeah why I man

01:14:12and uh yeah I'm sort of sick of it a

01:14:14little bit but um this is a project I've

01:14:16done with this snake start about round

01:14:18the baker wall which we'll come to you

01:14:21in a second

01:14:22um

01:14:22and basically yeah I thought I'd split

01:14:25the talk into three parts the first part

01:14:27being like a general General intro to

01:14:29myself and where I'm performing how it

01:14:31got started he influences me techniques

01:14:34and a couple of huge clangers that are

01:14:36dropped along the way

01:14:38um yeah which will actually turn out to

01:14:39be blessings in the disguise in a weird

01:14:41way

01:14:42and the second part is the typography

01:14:44project are done with its NASA and Von

01:14:47Smith that was just inspired by the

01:14:48baker wall where I grew up

01:14:52um and then third part is a campaign

01:14:54that I've just created for Beck's new

01:14:55album colors which is released next week

01:14:58plug

01:15:00um which uh involves creating all the

01:15:02artwork and directing

01:15:07so just press that's it so that's the

01:15:10first lyric video I I've done uh for wow

01:15:13wow I directed that one and then I just

01:15:16did this one for um a track called dear

01:15:18life which is a lot more kind of

01:15:20cinematic photographic

01:15:22um yeah and it's it's a lot more simple

01:15:25basically

01:15:26so yeah this is the intro and I grew up

01:15:28on a bike a wall uh generally an amazing

01:15:30place to be a kid growing up

01:15:36um yeah and um this is this has grown up

01:15:39as a Geordie you realize the difference

01:15:40between

01:15:41um the dream and reality so Elizabeth

01:15:43telling us when I was a kid love that

01:15:46ball the ball is yours this is your best

01:15:49friend in the world you know what I mean

01:15:51and you're gonna if you if you just

01:15:53stick with it you'll be the best you

01:15:55play for the best football team in the

01:15:56world's ever seen which is Newcastle

01:15:58United of course

01:16:01um and that was the dream the reality

01:16:03was a little bit different though and it

01:16:05evolved a lot of this

01:16:07crying

01:16:09uh relegation

01:16:12more crying

01:16:15I love it if we beat them

01:16:17crop managers

01:16:19even crop are managers

01:16:22more crying

01:16:24empty trophy cabinets

01:16:26don't even get a starter on that one

01:16:28since James is Jesus men fighting horses

01:16:33more relegation

01:16:36the owner of the club with his belly and

01:16:38his moves out

01:16:39actually that's a joke because that's

01:16:41not their own in the club that's

01:16:42ridiculous you know what I mean

01:16:43that's the owner of the club though with

01:16:45his belly and his moves out how did this

01:16:48actually happen you know what I mean

01:16:49Jesus Christ

01:16:50so thanks Daddy's in the crowd there

01:16:52thanks for the dream you give us a

01:16:54little smile for a little bit you know

01:16:56what I mean but uh you also give us the

01:16:58reality that's it there Whitley Bay

01:17:00Beach somebody says that they say was

01:17:03quite warm that day and I mean Bang

01:17:05anito

01:17:07so I knew I was never going to be the

01:17:08next Gaza so I just thought that I'm

01:17:10going to just the art I love art you

01:17:12know I mean and I studied in Liverpool

01:17:13the demographic degree and

01:17:16this is this is the guy I first met at

01:17:18the first day a guy called Richard

01:17:19Turley me and my best mates were moved

01:17:22in together and we started collaborating

01:17:24on a lot of projects riches went on a

01:17:25day like amazing basically with

01:17:27them Bloomberg businessweek and he's now

01:17:30working at White and Kennedy's but he's

01:17:32MTV all these sort of great places but

01:17:35we ended up the first thing that we've

01:17:37done together was the student magazine

01:17:39and this is a magazine called shout and

01:17:41um we honestly didn't have a

01:17:43clue or doing but we just tried the

01:17:46hardest and were completely Winged It

01:17:47Rich did all the tape and I did it did

01:17:49the illustrations for it we got sacked

01:17:52from the magazine three times in a row

01:17:54and um the last team was basically was

01:17:57replacing some old boring photo that

01:17:59they wanted on the cover uh with one

01:18:01mate and magalov with his eyebrows

01:18:02shaving off

01:18:03and uh yeah it didn't go down too well

01:18:06basically well actually got banned from

01:18:08the Student Union for that

01:18:10and even though we got sacked we won the

01:18:13guardian award for like best student

01:18:15publication and um the price for winning

01:18:18was was a two weeks work experience at

01:18:20the guardian and there but there was a

01:18:22slight problem on me because RMA sort of

01:18:25designed Heroes were people like Peter

01:18:27Kennard and fuel design uh Barney

01:18:30bubbles Jamie Reed and none of them ever

01:18:34switched on a computer basically and

01:18:36that was the same as me and the whole

01:18:38the whole three years I was at Uni and

01:18:39never switched on a computer everything

01:18:41was obsessive kind of analog techniques

01:18:43uh photocopy and collage screen printing

01:18:47faxing even and you know that sort of

01:18:50left us up creek a little bit you

01:18:52know what I mean so um well with the

01:18:54guardian doing what we're experiences

01:18:55Richard's knocking out all these spreads

01:18:57I'm sat next to him with some scissors

01:18:59and pretty stick and uh I just look at

01:19:02some little kid playing in the office

01:19:03you know what I mean there's some stuff

01:19:05you know and um the quote long story

01:19:07short he got a job there I ended up

01:19:10buying Valley

01:19:15and uh which felt like a slave condom

01:19:17and um my whole job was literally the

01:19:20conveyor belt came along and as for

01:19:22third you know what shifts this was

01:19:23split the door up like that hit that

01:19:27and I was like wow man and sometimes it

01:19:29wasn't even only do on the conveyor belt

01:19:30so I just sorry it's not there you know

01:19:32a lot of the time

01:19:34well I was at the factory Richard phoned

01:19:37us up and he's like man uh I've just

01:19:39been given I've been made art director

01:19:40of this new magazine called seven

01:19:41magazine it was it was it was the weekly

01:19:43version of mixed mugs dance magazine he

01:19:46said just get your ass back to London

01:19:47you can do all the illustrations in a

01:19:50magazine and uh I kind of looked at the

01:19:52door on a conveyor belt and I was like

01:19:54all right yeah I mean I'll pull that one

01:19:57off

01:19:58and the favorite part of my job was

01:19:59basically there's a guy called Tony

01:20:01Marcus who who used to literally just

01:20:03gonna take different drugs every week

01:20:04and really obscure locations and I had

01:20:07to do the illustrations for it

01:20:09so you'd be like in Peru doing sort of a

01:20:12masculine in a Peruvian mine shaft and

01:20:16then sometimes in a Sex Dungeon in

01:20:17Vauxhall and I had to come up with some

01:20:20ideas and so some of them are terrifying

01:20:22and then some of them are kind of

01:20:24euphoric

01:20:26uh some of them are psychedelic

01:20:29some are just sort of just

01:20:32basically and then you just call it I

01:20:34had to get the essence of what he was

01:20:35saying basically with type

01:20:38um some hand-painted stuff

01:20:40just general weird basically and I

01:20:43mean so this went on and on and I've

01:20:44done millions of them but um this one

01:20:47here I I this it was published and then

01:20:50I got a phone call one day from Liam

01:20:53hold it from The Prodigy on the phone I

01:20:55thought it was up and she said yeah mate

01:20:58how's it going now it's Liam from The

01:20:59Prodigy here mate really liking his

01:21:01stuff man how's it going yeah uh can we

01:21:03meet up I want you to do the new single

01:21:05man new single you know I'm like Hutch

01:21:07that is such a accent man it's

01:21:09terrible man he's like no man honestly

01:21:11honestly So eventually got ruined it

01:21:13yeah I mean I couldn't believe it when I

01:21:15was in the bread factory then in six

01:21:16weeks later I'm sort of Designing The

01:21:18Prodigy covers you know I mean sure

01:21:21um this is crazy

01:21:22em he gets he's like um the tracks he

01:21:27said yeah man the track's called baby's

01:21:28got a temper and the start of the track

01:21:30it's got like a laugh and policeman at

01:21:32the start so I just want you to

01:21:34find a laughing policeman just go out

01:21:35and find one so I'm just like

01:21:37I'm just some dude you know I don't know

01:21:39was it laughing policeman.com you know

01:21:42what I mean I don't know

01:21:43so it took us ages to find this guy and

01:21:45eventually I phoned this guy called

01:21:46Jeffrey and serberton and he collected

01:21:50old Fairground memorabilia that's the

01:21:52way he's brought you know I mean why

01:21:54don't you come to my house and I'll show

01:21:56you my collection right so our guns

01:21:59don't our guns don't disturbating to

01:22:01meet this dude in a sweat a God man I

01:22:04get there he opens the door he's got all

01:22:06his trainer dogs on the wall and stuff

01:22:08come on in Jimmy and it was like a weird

01:22:10smell in there and I'm just saying man

01:22:12I'm underneath the floorboards on this

01:22:14one you know I mean this is the last

01:22:15time anybody's gonna see us you know and

01:22:18um

01:22:19this is the weird thing he saw he's got

01:22:22the The Laughing policemen under under a

01:22:24cover in the corner and he and I was

01:22:27like uh all right so he doesn't look

01:22:29like a policeman money he looks a bit

01:22:30like a sailor you know and

01:22:33it was a sailor I need audio the audio

01:22:37is terrifying basically I don't know

01:22:39I've lost it but uh it's basically

01:22:42and I just thought this is the last

01:22:45thing I'm ever going to see when I want

01:22:46a knife

01:22:49and basically what he did was he he just

01:22:52took the outfit off the sale and put

01:22:54like a little Copper's old put on them

01:22:56and uh yeah and that that was the cover

01:22:59that was The Prodigy cover basically so

01:23:01this is one of the biggest calamities

01:23:03that ever happened was after that the

01:23:04single gun I rate the song was crap it

01:23:07was the worst Everest prodigy song

01:23:08Prodigy a good man they've done some

01:23:09good stuff you know I mean but it was a

01:23:10terrible record still got a number four

01:23:13in the charts but then Liam would say I

01:23:15want you to do that album I love what

01:23:16you did there

01:23:17and I've done uh I worked on the album

01:23:20for a year and a half after that and

01:23:22I've probably done like 500 different

01:23:24covers and um and basically it sort of

01:23:28um it was put all my fault basically I

01:23:30was just young and naive and I just

01:23:31assured him everything that I did rather

01:23:34than kind of self-edit and create in a

01:23:36little bit I'll just almost like

01:23:37throwing stuff for the wall and seeing

01:23:39what's stuck you know what I mean no

01:23:40real structure to it and then one day

01:23:42the print deadline come up and and he

01:23:44finally chooses a cover and uh then I'm

01:23:47gonna just buzzing you know what I mean

01:23:48and I always remember I was on Tottenham

01:23:50Court Road and I get to court phone call

01:23:51from the label and they're like yeah Jim

01:23:54I've got some bad news man uh the one

01:23:57with the other design

01:23:59I think those are designed what what do

01:24:01you mean so yeah we've had another

01:24:03designer working on it you know what I

01:24:04mean and I was just like you know in

01:24:06your wall your world just follows the

01:24:08bits and it was just devastated and sort

01:24:10of um Angry you know what I mean because

01:24:12anybody had told us you know I mean but

01:24:13um it was such this sounds weird but it

01:24:16was the biggest gift I've ever had

01:24:18within Design Within my life to be

01:24:21honest I was depressed I went a bit of a

01:24:23depression thing two weeks after that

01:24:25seven went bankrupt the magazine went

01:24:28for bankrupt and I was just say what I'm

01:24:31back to the bread factory man I want to

01:24:32go back to the bed Factory and I mean it

01:24:34was I was I was sort of looking forward

01:24:35to going back there

01:24:36and um basically what I've done was I

01:24:39sort of pulled myself together and uh to

01:24:42write all the wrongs which were in me

01:24:43practice I knew that was stuff that was

01:24:45just wrong you know what I mean and I

01:24:47got got an agent which is a heart agency

01:24:49which would have been brilliant I'm

01:24:51still with him to this day and I went

01:24:53back to UNI and I I done a master

01:24:55assistant Martins because I had to just

01:24:58have a I was stuck in a rope with this

01:24:59world project I'd have come up with a

01:25:02new way of thinking and uh I actually

01:25:04learned how to switch your computer on

01:25:05as well which is nice to scan things in

01:25:07and stuff you know what I mean sort of

01:25:09anyway and um and then I hardly you know

01:25:1310 years of a successful illustration

01:25:15career but I was keep going back when

01:25:17you basically I split my girlfriend in

01:25:19London and I was going back in Newcastle

01:25:21a lot of the time and I just realized

01:25:23what what am I doing and I love London

01:25:26you know I mean think it is wrong but

01:25:28the the Newcastle that I'd left wasn't

01:25:30the one that I was keep coming back to

01:25:32you know what I mean it to me as an art

01:25:34scene uh brilliant uh live music venues

01:25:37and clubs and great restaurants and

01:25:39stuff and uh not to be too sloppy but I

01:25:41would say I just missed my family I

01:25:43missed me to be friends you know what I

01:25:44mean and I moved back and it's the best

01:25:46decision I've ever made you know I mean

01:25:48you can always start crying now if you

01:25:50want hey

01:25:53um anyway so this brings us I'm out over

01:25:55running I'm probably overrunning but you

01:25:56know

01:25:57um brings us back to the next project

01:25:58it's in that was this is what I've done

01:26:00it's nice starting fun Smith the asked

01:26:03us to create a typeface inspired by one

01:26:05aspect of the home tone so I picked the

01:26:07bike I won and where I grew up basically

01:26:10and um and it was kind of weird because

01:26:12when in the 80s growing up in Newcastle

01:26:15you were surrounded by kind of gray

01:26:17brute list architecture dominated

01:26:20um doctors the tea Dan Smith era

01:26:22basically and we were promised that we

01:26:24were going to be the Brasilia of the

01:26:25North like an ultra and north and

01:26:28Metropolis basically it just didn't

01:26:30 happen man yeah I mean uh you

01:26:33had stuff like this you know

01:26:35um you know uh tower blocks which would

01:26:37just put up really quickly and cheaply

01:26:39and apart from being like bad City

01:26:41Planning just horrible ugly you know

01:26:44what I mean and most of it was down

01:26:46within like 20 years you know let me

01:26:47just got pulled down

01:26:48and and basically you know and this is

01:26:52the old baker basically and and which

01:26:54were Victorian Terraces this is where my

01:26:56mom used to live and which were

01:26:57condemned for um for for being unfit for

01:27:01human habitation and this guy just

01:27:04changed everything he's a guy called

01:27:06ralphyskin he was attacked ought to take

01:27:08the biker wall all around just good dude

01:27:11you know I mean very influenced by

01:27:12fabianism

01:27:14he was a Quaker and he built loads of

01:27:17stuff in Sweden so like social democracy

01:27:19and he was obsessed with the idea of

01:27:21kind of um strong Community within

01:27:24social housing and um and basically this

01:27:26is where I grew up you know what I mean

01:27:27it was just and what he done was he kind

01:27:29of all him Terrace housing he moved

01:27:31everybody from the same streets he

01:27:34didn't put everybody like randomly he

01:27:35put next-door neighbors next door to

01:27:37each other in the blocks I mean some

01:27:39people probably hit at that to

01:27:41be honest you know I mean I'm stuck with

01:27:42him again you know what I mean but he

01:27:44wanted to keep communities together

01:27:45basically and then his offices were in

01:27:48he lived in the baker wall where he was

01:27:50building it his offices were there

01:27:52um but through a child's eyes living

01:27:55there it was such a stimulating place to

01:27:57live because I was constantly surrounded

01:27:59by uh just primary colors geometric

01:28:01shapes textures

01:28:03and I mean that's it from above man

01:28:05that's mental isn't it is that not

01:28:07mental that's just a beautiful it's a

01:28:08beautiful place man

01:28:10um so to come back to how in terms of

01:28:13the typography to come up with a tape

01:28:15face format I just thought of the

01:28:17analogy of kind of breaking through the

01:28:19gray bruteless Orthodoxy that sounds a

01:28:21bit postulate what I just said that uh

01:28:23it's starting for that as a Tafe so what

01:28:26I did was I went running Newcastle and

01:28:28started taking photographs of brutless

01:28:29buildings and what type is Tafe is there

01:28:32used

01:28:33um and I wanted a we have interrupting

01:28:35what they've done because that's what

01:28:38Erskine did

01:28:39rebelled against the the brutalist

01:28:42Orthodoxy of Newcastle at the time

01:28:45so I found these old letters in them in

01:28:47a skip in Lake in maybe even in Baker

01:28:50actually I don't know

01:28:51no Shields you know what we're doing

01:28:53that actually no it wasn't a skip we

01:28:56pinched them letters I got my dad on my

01:28:58shoulders my pinched then letters of the

01:29:01northern Rubber Factory

01:29:04you shouldn't I'm gonna get arrested for

01:29:06that man

01:29:08um yeah it says if you're on the thing

01:29:10is skipping Scots yeah

01:29:13anyway I went online I stopped buying

01:29:15loads of old kids games and stuff and

01:29:17then I start like just like combining

01:29:19the stuff together you know what I mean

01:29:20to interrupt the form and shape and then

01:29:23that's at the back so it started putting

01:29:25stuff in the back of in the back of the

01:29:26letters and these are just sort of

01:29:28Sketchbook pages so I start getting like

01:29:30kind of very Kenny and brutless type

01:29:32faces and again interrupting them

01:29:35hey I'm just going through through these

01:29:37this is in my studio I'll just you know

01:29:39just messing on the walls trying to sort

01:29:41of um just yeah just create different

01:29:43stuff you know oh Jesus

01:29:46on the studio walls

01:29:50we went back to Newcastle out to the

01:29:52street I lived in basically that's me

01:29:54with a Daft smile I love how everybody's

01:29:56been welcoming and put a setio For Us in

01:29:58the background there it's really nice of

01:29:59them you know

01:30:01the dog was Priest disease as well

01:30:04um and this is the final Tafe is

01:30:06basically and we'll call it FS Erskine

01:30:09after after Ralph basically

01:30:12oh thanks Mom thanks

01:30:14hahaha and then yeah so that's the final

01:30:17thing anyway this is the next project

01:30:19this is um this is the new

01:30:22um stuff I've done for Beck basically so

01:30:25this is the first uh singular Dawn from

01:30:28I'm not going to talk about this because

01:30:30it's it's basically oh however

01:30:34however I get that on

01:30:36it doesn't matter anyway actually I'm

01:30:37going to play it oh it's two then I'm

01:30:38gonna go on

01:30:39so basically I've done a track called

01:30:41wow if you want to check out the the

01:30:43video check it online and but this is

01:30:45some stuff that I've done for the album

01:30:47which you basically wanted to stuff very

01:30:49bold and simple and he wanted a

01:30:51photographic route uh rather than the

01:30:53analog kind of nature that we've done

01:30:55for a while

01:30:56uh these are all sketches he's never got

01:30:58never never got picked out basically

01:31:01um this is the first one we'll come up

01:31:02with this kind of hexagon idea and I

01:31:04don't want to even say it but like

01:31:06um

01:31:06the back cover is actually really

01:31:09influenced by Baker because you know

01:31:11when you do a project in this sort of

01:31:12remnants of something beforehand so

01:31:15there's a bit of tune in the new back

01:31:18cover there you go back doesn't know

01:31:20that you know what I mean but

01:31:22um so with these different things none

01:31:24of these got chosen the whole

01:31:27um new album is basically a pop

01:31:28extravaganza the first the album before

01:31:30it was acoustic and kind of esoteric he

01:31:33always changes it up on every album

01:31:35and then the tracks are basically

01:31:36designed to be played out live and what

01:31:39we did here was what I did here was just

01:31:40kind of rip here and stuff like that he

01:31:42wasn't into that he wanted to be more

01:31:43kind of flown and globular and kind of

01:31:46more fun so we can start moving towards

01:31:49it he didn't like the the um the diamond

01:31:51shapes or obviously went back to the

01:31:53hexagon that's kind of the final cover

01:31:55the deluxe cover

01:31:57and um what would do is what we've done

01:32:00is is kind of have uh we've kind of for

01:32:02the the main Deluxe covers is kind of

01:32:06it's

01:32:07people can design their own cover

01:32:08basically by these transparencies that

01:32:10were created in the middle

01:32:12that's it in Indie cover that we did for

01:32:14uh for a rough trade

01:32:17um and kept it the lyric sheets very

01:32:19simple inside

01:32:21uh you know following even though like

01:32:24the lyrics you know following National

01:32:25shapes but then without that this is a

01:32:28little

01:32:31stuff guys

01:32:33huh created once ah

01:32:36thanks Alex thanks man

01:32:39but no audio

01:32:41it doesn't matter anyway so yeah this is

01:32:43the unboxing of It kind of so you can

01:32:45see how it works

01:32:47it's cost we want the the viewer to

01:32:50customize it they're selling a lot of

01:32:51ways

01:32:57so that's that and then

01:32:59um

01:33:00this is the new thanks man this is the

01:33:03new um video I've just done for him

01:33:05which is kind of dear life which was he

01:33:08wanted it to be the opposite of wow he

01:33:10wanted to be very influenced by the

01:33:11album cover so it went for like in a

01:33:13very clear

01:33:15um very simple typography uh you know

01:33:18um using sort of um geometric shapes

01:33:21and we just shot it this was shot in

01:33:23five days the whole thing and this was

01:33:25like

01:33:27while I was shot in eight days and this

01:33:29was shot in five days and this was a

01:33:31literally

01:33:32the worst experience of my life ever

01:33:34sorry back I'm putting that out there

01:33:36mate but it was you know I turned no R8

01:33:38but

01:33:39it was it was innate me and this is was

01:33:42it twice mate once

01:33:44this is me in the studio that's my

01:33:46really organized storyboard in my studio

01:33:48which I've done in five days that's at

01:33:51four o'clock in the morning on the very

01:33:52last day of basically in the last little

01:33:55thing that was zoom in it will basically

01:33:57sums up uh my life at the time

01:34:03yeah exactly

01:34:07and that's kind of it

01:34:10I think I'm running over but there you

01:34:12go

01:34:12[Music]

01:34:16oh no I'll show you one more thing one

01:34:18more thing oh there I've got the video

01:34:20on now

01:34:22don't want to watch this anymore because

01:34:23I know the lads are coming up

01:34:28that's all right this is the actual

01:34:30video I bought

01:34:31[Music]

01:34:31um

01:34:32am I overrunning here massively totally

01:34:35overrunner right but check out this this

01:34:38is the new thing that me and Rich Turley

01:34:40have just done together it's not going

01:34:41to be released until next month we've

01:34:43just done a new video from Miguel who's

01:34:45one of my favorite artists at the minute

01:34:46and me and Rich are back together

01:34:48creating weird together so

01:34:51I'm gone yeah

01:34:53[Applause]

01:35:02all right

01:35:05um

01:35:05Jimmy thank you so much that was

01:35:07unbelievable um and sorry to our

01:35:09American guests who probably didn't

01:35:10understand a word of that

01:35:15um so wrapping up tonight we have one of

01:35:18the team at Novak who've been helping us

01:35:20all day they're a studio specializing in

01:35:23motion design and large format video

01:35:25encompassing projection mapping

01:35:27installations and more than that

01:35:29um please give a big warm welcome to

01:35:31Adam Finley

01:35:40um hello everyone uh just before I start

01:35:43I'd just like to see Jimmy moved into

01:35:44our building maybe what was it two years

01:35:46ago a year ago in that and he's just

01:35:48Bell enough to have around as you can

01:35:49probably see in that uh yeah it's

01:35:51thoroughly enjoyable there's great stuff

01:35:52to happen so yeah I'm Adam Finley I'm

01:35:55senior director of Novak uh we are as

01:35:58art says this you were just based over

01:35:59on the biscuits in studios on Warwick

01:36:01Street

01:36:02um and we create a mostly large format

01:36:05video so I'm just going to show you I'll

01:36:06show you to get things started

01:36:15[Music]

01:37:17thank you

01:37:29foreign

01:37:34[Music]

01:38:31foreign

01:38:36[Music]

01:38:49incidentally that piece of music by

01:38:51winter North Atlantic which is Ed Carr I

01:38:54would recommend you buy that record it's

01:38:55very good

01:38:56um so just before I'm going to talk

01:38:58about a couple of projects one much

01:38:59earlier in our sort of career and one

01:39:01much more recently they kind of touched

01:39:03on the evolution of how technology has

01:39:04kind of assisted us and sometimes hugely

01:39:08frustrated us but nevertheless it's good

01:39:10but just before I do I just want to kind

01:39:11of touch on what we've done here today

01:39:14um the visualizations that you saw

01:39:15earlier on that we created

01:39:17um

01:39:18where to kind of Step Into The Unknown

01:39:20about for us uh most of what you saw in

01:39:22that show reel or you sit here in some

01:39:24of these pictures this is all

01:39:25pre-rendered content we draw it we

01:39:27design it we model it we animate it it

01:39:29then becomes a video file and it gets

01:39:31presented somewhere in that but we knew

01:39:33we had to do it a day was uh

01:39:35if we were going to do this thing pull

01:39:37this live data that you know we had to

01:39:39use something so we we kind of said so

01:39:41I'm first and foremost really relieved

01:39:42it all worked really well so credit to

01:39:44everyone who worked on it and that but

01:39:45uh I'd just like to say thank you very

01:39:47much to uh all our collaborators Ed

01:39:49Carter Tim Shaw James Rutherford uh the

01:39:53Ari Janine and Phil at the urban

01:39:56Observatory J and JH at nobody's

01:39:59interactive it was a genuine

01:40:00collaborative out for everyone kind of

01:40:02really can support it and not least it's

01:40:04nicer and Google for commissioning kind

01:40:05of studio so thank you very much anyway

01:40:14I feel like I've forgotten someone so

01:40:15sorry if I have anyway uh moving on uh

01:40:18so as you can probably see we spent an

01:40:20awful lot of our time projecting onto

01:40:22things that weren't made to be projected

01:40:23onto so the Interiors

01:40:25Seminary up near helensburgh in Scotland

01:40:29uh Thurston crane Durham Castle

01:40:33um

01:40:34fault in Jersey and various other places

01:40:38so this is this proves to be quite

01:40:41interesting and challenging for us a lot

01:40:43of the time so jumping back to 2010 and

01:40:46in particular somewhere a little bit

01:40:47closer to home here will eBay

01:40:51um yeah definitely

01:40:53um so that's the same time as we

01:40:54mentioned it

01:40:56um so back in 2010

01:40:58um we got commissioned to create a

01:41:01projection mapping onto the iconic

01:41:03building that is the Spanish city

01:41:05building

01:41:07um and at this time Novak were fairly

01:41:10silly early in our infancies and we

01:41:12hadn't really done any sort of we've

01:41:14been done any proper projection mapping

01:41:15certainly not any sort of large-scale

01:41:17things but we're really Keen to do it

01:41:19you know the the medium if you made was

01:41:21quite in its infancy and there was a lot

01:41:23of things but anyway we've got this

01:41:24commission to do this it was to

01:41:26celebrate the Centenary year of this

01:41:28iconic building and uh we didn't really

01:41:31know what we were doing there wasn't the

01:41:33you know there's loads of like online

01:41:35resources now and that there's so many

01:41:36great people out there offering support

01:41:38and everything there's loads people

01:41:39alternative it's a lot less than back

01:41:41then at least we didn't know who she

01:41:42talked to so anyway we plowed on with it

01:41:44and

01:41:46um we were unsure what to do but so what

01:41:48we did we went down to Willie Bay we

01:41:49kind of worked out roughly where would

01:41:51put the projectors and we took a

01:41:53photograph we took this Photograph and

01:41:55from that we

01:41:57Drew over it we traced on it and that

01:41:59became the template that we would use to

01:42:01create the content for it

01:42:03um again we were kind of plowed on we

01:42:04didn't really I think there was always

01:42:06doubt at least it was down in my mind

01:42:07I'm not sure about everyone else but it

01:42:09probably was anyway

01:42:10um so we were about unsure about if it

01:42:12was the right approach we were doing the

01:42:14right thing stuff like that and you know

01:42:16this building is

01:42:18you know it's fairly forgiving in ways

01:42:19you know it's white

01:42:21it's mostly flat but you do have the big

01:42:23issue of this Dome structure which is

01:42:25kind of what makes it partly iconic so

01:42:28without really knowing what we were

01:42:29doing we kind of just went down and we

01:42:31had we hired a couple of sort of what at

01:42:33the time seemed like really amazing

01:42:35projectors and I think they were like

01:42:3710 24 768 which is funny because that

01:42:40came up in conversation with one of The

01:42:41Tech Guys back there earlier on so

01:42:43evolution of Technology like any aside

01:42:45from that

01:42:46hired a hired a van stuck them out at

01:42:49the back of there and pointed them at

01:42:51the building and kind of hoped to God

01:42:53and with a little bit of help from a

01:42:54friend of ours who's still a good friend

01:42:56of us and still does some amazing

01:42:57technical stuff guy called Andy course

01:43:00um he turned up at the last minute with

01:43:01a fancy computer and helped us make this

01:43:03reality and luckily when we've projected

01:43:06on it and shifted some pixels it looked

01:43:07like this uh we were bloody relieved

01:43:10I've got to see

01:43:11anyway so this was like just it was a

01:43:14really kind of stepping off moment for

01:43:16us to to you know to go into that realm

01:43:19of doing this we're really excited about

01:43:20this as a sort of a medium of what we

01:43:22could do and I suppose if I look back

01:43:24over these years that was a real kind of

01:43:26starting point for us in many ways and

01:43:28how we've kind of moved forward with us

01:43:30as Novak

01:43:33um I should also point out that this was

01:43:35shown in the December of 2010 which was

01:43:37freezing cold and about two people

01:43:39showed up to see it and that and we put

01:43:41so much effort on working on it and we

01:43:42were like I was like were you excellent

01:43:45thank you very much and I really

01:43:46appreciate that I

01:43:49so who's the other person

01:43:51um

01:43:52so um

01:43:54anyway luckily the north high tech house

01:43:55in foresight they light the piece and

01:43:57they we showed it a couple of times

01:43:58again and we managed to get some people

01:44:01to see that who subsequently

01:44:02commissioned us to do other things which

01:44:04was amazing in that but anyway jumping

01:44:06forward uh to last year 2016 and to

01:44:09another Seaside English Seaside town

01:44:11this time Brighton

01:44:14um and to a slightly less iconic

01:44:16building I would like to say but the

01:44:18Royal Pavilion

01:44:20which um uh Queen Victoria didn't like

01:44:23apparently I was told anyway so we got

01:44:26asked if we'd be interested in as you

01:44:28don't ask we're interested of course

01:44:29we're interested

01:44:30you know do we want to produce create a

01:44:34production mapping to go into this

01:44:35building and you know with equal amounts

01:44:38of

01:44:38sheer excitement and joy it was utter

01:44:40Terror the thought of just like Jesus

01:44:42have you seen this thing this is nuts

01:44:44we've seen inside it for those of you

01:44:45being inside that it is just crazy

01:44:47building

01:44:48but anyway to add to that it wasn't just

01:44:51we'd like you to make some pretty

01:44:52pictures of it we were teamed up with

01:44:55we're commissioned by an organization

01:44:56called nutcut and uh we were asked to

01:45:00produce a piece that told the Naruto

01:45:01story about Indian soldiers who'd fought

01:45:04for Britain during the first world war

01:45:06and it ended up in the Royal Pavilion in

01:45:09Brighton because it was used as a

01:45:11temporary hospital for these Indian

01:45:12soldiers for starters I didn't I wasn't

01:45:14even aware that Indian soldiers had

01:45:17fought for Britain during the first

01:45:18world war and that they'd gone on this

01:45:20journey from Mostly up on the queen job

01:45:21you know so

01:45:23Farmers you know peasant soldiers

01:45:26basically who'd come down and

01:45:28traveled up from Marseille up through to

01:45:30the Western Front and you know suffered

01:45:32horrendous Industries and injuries

01:45:34rather and then ultimately ended up

01:45:36inside this mental building

01:45:39um you know they must have thought they

01:45:40had died you know and gone to some

01:45:42bizarre places the interior is quite

01:45:44psychedelic however anyways we had this

01:45:46challenge of like trying to tell this

01:45:48kind of very it's quite heavyweight con

01:45:51you know it's an important story that

01:45:53needs to be told with you know right and

01:45:57to give Justice and and sorry I'm not

01:46:00worrying about that but you get I think

01:46:01you get my point properly anyway so

01:46:03slightly more advanced than what we had

01:46:06done previously uh We've teamed up with

01:46:09a company that we work with quite

01:46:10frequently called QED who are a great

01:46:12bunch of guys based on a part of us bar

01:46:13and they have a slightly crazy director

01:46:16who has been really fortunate with us

01:46:18because he gets an idea in his head and

01:46:20he's been wanting to projection map this

01:46:23building for a while and they're all

01:46:24about the technology they're all about

01:46:25supplying the best and all media servers

01:46:27and all this amazing stuff so getting to

01:46:29do that stuff for them is great and uh

01:46:31so but I'm taking a photo of it we've

01:46:33got a 3D scan of it now this is the like

01:46:36high resolution model so the whole

01:46:38building got scanned

01:46:39and

01:46:41um basically from that from this very

01:46:44accurate model we were able to

01:46:45extrapolate a

01:46:47it's called a UV map any of you who work

01:46:50in 3D or games design on that I'm sure

01:46:53are familiar with the concept of it but

01:46:55for those who know it is essentially

01:46:56unwrapping a 3D model so if you've ever

01:46:58wondered what the Rogue for in Brighton

01:47:01looks like on that there you go so this

01:47:04this is so this is one of the

01:47:06circumstances where it's like technology

01:47:08is going to end you know advancements

01:47:09and things and how these things interact

01:47:11with the media setups you know on one

01:47:13hand

01:47:14are going to allow you to do much more

01:47:17greater things and be more experimental

01:47:19and you know know how things are going

01:47:21to work better and understand because

01:47:23that's the big challenge we have a lot

01:47:24of times trying to know how our content

01:47:26is going to translate when it's put on

01:47:28there so using these techniques

01:47:31um we're able to kind of

01:47:33we're able to sort of apply our content

01:47:35to it and then wrap things back onto

01:47:37models and do like pre-visualizations

01:47:38and things we're also allowed to assume

01:47:40things and I think it enables us to

01:47:43just first and foremost be more creative

01:47:45but be able to tell kind of like you

01:47:47know narrative stories and not just

01:47:48splashing pretty colors or something on

01:47:50something we can be really intricate in

01:47:52that but at the same time you're kind of

01:47:54dealing with something like this and

01:47:55you're like oh God what bits that and

01:47:57you know and Elliot who's our creative

01:47:59director and it does a lot all our

01:48:00illustration work and things like that I

01:48:02spent hours just what he does spend

01:48:04hours just drawing around things up but

01:48:05you know it's working out things but

01:48:07ultimately you end up being able to have

01:48:10you know your vision is realized sort of

01:48:12in advance now there's no substitute for

01:48:14the real world but it really does make a

01:48:16lot of difference and because of the

01:48:17complexity of things the main Dome

01:48:19actually had its own

01:48:20little separate bit so I remember Keith

01:48:23is a chief animator and

01:48:27um

01:48:28technical director spent various times

01:48:30trying to get it all to work into one

01:48:31single file and things like that however

01:48:33anyway after using that so we were able

01:48:35to

01:48:36ships about down to Brighton and got

01:48:39down there and with slightly more than

01:48:41just a back of a van and a couple of

01:48:43projectors this is just one of them uh

01:48:46stacks of that through an all manner of

01:48:48stuff at it we presented uh this piece

01:48:51at

01:48:52um the Brighton Festival in 2016 and

01:48:54it's called Dr blighty and that's what

01:48:57it looked like

01:48:58[Music]

01:49:00um

01:49:04thank you very much

01:49:06um

01:49:07so

01:49:08it was an amazing project to work on not

01:49:11without its challenges but you know it

01:49:12was like a culmination of people coming

01:49:14together and that so

01:49:16um

01:49:16as well as us producing the visual

01:49:19content working with our collaborators

01:49:21again uh Ed Carter who produces Amazing

01:49:24Music along with the chap called SRI

01:49:27um again QED and their team who helped

01:49:29realize it through the technical thing

01:49:30and you know nut cut 1418 who supported

01:49:33and everything and

01:49:35sorrow like in Whitley Bay but slightly

01:49:37different so we got down there and as

01:49:39ever limited budgets wasn't loads of

01:49:41money you say so we just went down for a

01:49:42couple of days beforehand deliver the

01:49:43finals files and then uh stayed for the

01:49:47first night and I think about 30 or so

01:49:48people turned up we were like okay

01:49:50it was on for like four or five days so

01:49:53we were like okay now off we came back

01:49:55to Newcastle you know pretty happy about

01:49:56things and I get a text message that

01:49:58evening from uh Dan who's a senior

01:50:01technician at QD and he's like so shame

01:50:03you guys left uh yesterday because half

01:50:05of Brighton just turned up

01:50:08so um

01:50:09we actually might I think we I don't

01:50:11know if we officially close drawers I

01:50:12think just people did close Roots but

01:50:14anyway

01:50:15um yeah so that's just kind of to say

01:50:16that

01:50:17yeah have a couple of stuff moves in

01:50:19just so you say thank you

01:50:28sorry

01:50:35Adam thank you so much um so what a

01:50:38night where else could you find data

01:50:40science architecture design and the

01:50:42biker wall all in one place

01:50:44before I hand back to Damien for the

01:50:47final word

01:50:48um I just want to say a big heartfelt

01:50:49thanks to Google design really for

01:50:51having the vision and generosity for

01:50:52making these kind of things happen

01:50:54they've been an absolute joy to work

01:50:56with

01:50:56also to you guys otherwise we're sat

01:50:59here speaking to ourselves so

01:51:01um a huge thanks to all of you for

01:51:03coming out and a final big hand really

01:51:05to our full speakers to add to Charlie

01:51:07to Jimmy and to Adam thanks

01:51:17I I wouldn't personally thank Jimmy uh

01:51:20for I can't wait to read that transcript

01:51:22later and try to really decipher what

01:51:24was said

01:51:25um

01:51:26um um and then one more one more shout

01:51:28out about the the span reader um the one

01:51:30thing I did forget to mention is there

01:51:31is a poster that was designed by it's

01:51:33nice that um in the in the back pocket

01:51:35so

01:51:36um don't don't forget to check that out

01:51:37as well

01:51:38um thanks to Alex uh for emceeing

01:51:41tonight and um thanks to the entire it's

01:51:43nice that crew Rob Olivia

01:51:45um Ali will Briny and um yeah it was

01:51:49thanks for helping us put on a great

01:51:50event today

01:51:52um and another big thank you to the rest

01:51:54of my my Google my Google design team a

01:51:57few of us are here Corrine and Paul

01:51:59Barbara on the live stream uh minister

01:52:02of others back in New York

01:52:03um thank you so much for being one of

01:52:05the best teams um a boy could ask uh a

01:52:08boy could ask for it um and remember to

01:52:10share some of your your thoughts and

01:52:12photos from this evening on social

01:52:15um with using our hashtag follow us on

01:52:18Twitter Facebook there's a hashtag up

01:52:20there uh

01:52:22um we'll also be hosting all this span

01:52:25content on our website design.google

01:52:27um so please check that out there's some

01:52:29additional programming

01:52:31um we put together on there as well

01:52:33um and and one more thing you'll be

01:52:34getting a another email from us it's a

01:52:36survey uh please please fill it out it's

01:52:39uh it's the the data is totally

01:52:42Anonymous

01:52:43um but your feedback really does help us

01:52:45put on these types of events in the

01:52:46future so

01:52:47um hearing hearing what you thought

01:52:49would be great

01:52:51um and then I guess lastly our next

01:52:53event is in Mexico City in in about a

01:52:56month in mid-november so please

01:52:59yeah

01:53:01um so please follow us for updates on

01:53:03that installment as well so

01:53:06um yeah and that's it so let's uh let's

01:53:09grab another drink and uh thank you

01:53:11again

01:53:11[Applause]

01:53:52[Music]

01:53:56foreign

01:53:56[Music]

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