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
00:47we 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
01:04we 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
01:19and 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
02:32there 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
02:45just 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
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
04:20um 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
05:05um 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
06:12lovely 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
06:26photography Publications and a whole
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
06:44um 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
07:18um 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
07:49um 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
08:36they 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
08:55um I guess information really really
08:56super accessible so here there he saw
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
09:53hello thank you very much
09:55it's been a great fun day actually it's
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
10:12um 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
10:46and 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
11:39um 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
12:06notice 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
12:37um 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
13:03across these disciplines is the
13:05architect composer and artist Janice and
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
15:09um 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
16:12um 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
16:32and 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
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
17:50really 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
18:40um 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
18:53um 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
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
20:31for a string quartet
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
21:35broader 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
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
24:21and 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
24:45and 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
25:13thought 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
25:27um 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
25:51so 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
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
27:46hi 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
28:31um 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
28:49now 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
29:38so 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
30:12so 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
31:13our vision is one that is shared it's
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
31:33firstly 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
31:53our building is equipped with a dark
31:55room with tilt wood Workshop Hands-On
31:58film lab and numerous project and
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
32:16secondly 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
33:08and thirdly through our exhibition and
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
33:28creating 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
34:17to 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
35:08the 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
35:24the 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
36:06it'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
36:36so I asked Adam before this talk to
36:39describe the intention behind the
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
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
37:31and 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
37:47and 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
38:22for 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
38:39VR 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
38:54elements 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
39:10and 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
39:46and the actors then played the chat Bots
39:49within this within the gallery
39:51installation using these physical 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
41:19so 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
41:33and 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
41:50it 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
42:09who will shape their own learning and
42:11generate a culture of peer support and
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
43:04um so I just wanted to finish on one
43:09when I was invited to talk here this
43:12um my first reaction I've got to be
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
43:41and 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
44:07it provides us with new tools for
44:11and it generates new art forms all the
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
44:51Charlotte 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
45:08um 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
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
46:15you 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
46:41way 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
46:52you 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
47:25our 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
48:34of 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
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
51:08A 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
51:19is 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
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
53:45I think material design should help you
53:46free up your times that you're spending
53:49more time on the conversations you want
53:56design is always evolving we're
53:59constantly learning about user behaviors
54:01and finding new ways to improve our
54:04we're fascinated by the fact that design
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
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
55:30in 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
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
56:51you 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
57:05you 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
57:43there 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
58:03starting 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
58:15the 500s are perfect for describing the
58:17dominant theme in your product and are
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
59:04get to know the fundamentals of color on
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
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
01:00:13you 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
01:00:45our 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
01:11:54just 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
01:12:59right 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
01:13:07did you have a nice drink
01:13:09yeah yeah excellent did you did you look
01:13:11very rested actually you look you look
01:13:14um and you need to be ready for this
01:13:16next one so next up we have don't say oh
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
01:13:46hi 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
01:14:22and 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
01:14:42and 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
01:15:00um 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
01:15:26so 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
01:15:41um 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
01:16:01um and that was the dream the reality
01:16:03was a little bit different though and it
01:16:05evolved a lot of this
01:16:15I love it if we beat them
01:16:19even crop are managers
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
01:16:36the owner of the club with his belly and
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
01:16:50so 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
01:17:07so 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
01:18:03and 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
01:19:15and 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
01:19:58and 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
01:20:26uh 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
01:21:22em 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
01:22:19this 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
01:22:49and 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
01:23:17and 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
01:25:53um anyway so this brings us I'm out over
01:25:55running I'm probably overrunning but you
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
01:27:14he 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
01:28:03and 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
01:28:33um and I wanted a we have interrupting
01:28:35what they've done because that's what
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
01:29:08um 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
01:30:01the 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
01:30:39so 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
01:30:56uh 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
01:31:06the 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
01:31:57and 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
01:32:07people 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
01:32:21uh you know following even though like
01:32:24the lyrics you know following National
01:32:25shapes but then without that this is a
01:32:33huh created once ah
01:32:36thanks Alex thanks man
01:32:41it doesn't matter anyway so yeah this is
01:32:43the unboxing of It kind of so you can
01:32:47it's cost we want the the viewer to
01:32:50customize it they're selling a lot of
01:32:57so that's that and then
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
01:33:15um 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
01:33:27while I was shot in eight days and this
01:33:29was shot in five days and this was a
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
01:33:39it 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
01:34:07and that's kind of it
01:34:10I think I'm running over but there you
01:34:16oh no I'll show you one more thing one
01:34:18more thing oh there I've got the video
01:34:22don'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
01:34:32am 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
01:35:05Jimmy 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
01:35:40um 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
01:36:02um 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
01:38:49incidentally 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
01:38:56um 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
01:39:18where 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
01:40:34fault 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
01:40:56um 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
01:41:07um 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
01:41:46um 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
01:41:57Drew 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
01:42:18you 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
01:42:46hired 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
01:43:11anyway 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
01:43:33um 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
01:43:54anyway 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
01:44:20which 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
01:44:30you 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
01:44:38sheer 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
01:44:48but 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
01:45:23Farmers 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
01:46:41um basically from that from this very
01:46:44accurate model we were able to
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
01:47:14are 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
01:48:28technical 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
01:48:36ships 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
01:48:52um the Brighton Festival in 2016 and
01:48:54it's called Dr blighty and that's what
01:49:04thank you very much
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
01:49:16as 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
01:50:09we 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
01:50:15um yeah so that's just kind of to say
01:50:17yeah have a couple of stuff moves in
01:50:19just so you say thank you
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
01:50:48um 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
01:50:56also 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
01:51:26um 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
01:51:36um don't don't forget to check that out
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
01:51:52um 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
01:52:22um 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
01:52:43um but your feedback really does help us
01:52:45put on these types of events in the
01:52:47um hearing hearing what you thought
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
01:53:01um 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