This multi-layered book is perfect for the 59 productions treatment
This week 59 Productions (the radical design and production company than I had a hand in setting up) announced their latest project. Its an adaptation of Paul Auster’s City of Glass by Duncan Macmillian, the acclaimed writer of People Places Things. The show is directed by my friend Leo Warner and is a co-production with Home and the Lyric Hammersmith.
City of Glass (part of Auster’s New York Triology) is an intriguing post-modern detective story that plays with ideas of reality, identity and imagination. I think its a perfect fit for the kind of art that Warner and the remarkable 59 Productions team create. In a recent interview with the Financial Times, he outlines their approach. Continue reading “59 Productions to produce City of Glass for the stage”
Our constant call-outs of sexism in the media are slowly having an effect
Societal progress moves at a glacial pace. Sexism didn’t go away when Margaret Thatcher became Prime Minister and it’s still with us even though Teresa May now occupies Number 10 Downing Street.
Still, it’s interesting (to me, at least) to watch our societal attitudes change, even at the quantum level. In fact, I think it is particularly worthwhile to note the most granular changes in our discourse: in this case, how we talk about women and men.
This tweet of mine garnered a few fav-hearts and re-tweets, which suggests that this is the sort of thing people are interested in.
Of course, the content of the letters is the really important part, so far as the authors are concerned. But design and presentation is incredibly important, despite being 99% Invisible when done right. We can gather some insights into the thoughts of the authors by how their resignation letter is laid out.
We are challenged by an island’s worth of puzzles as the player is transported to the gothic mansion of Grey Holm and the hostile hospitality of The Craftsman
For the past few weeks I’ve been playing The Room series, a set of three games for mobile devices by Fireproof Games. This week I completed The Room Three, and thought I’d write a quick review.
The premise of all three games is simple. The player is presented with an ornate contraption, and the task is to unlock the secrets contained within. Do you pull this lever, or press that button? What combination of switches must you flick in order to open the door? How do I make that panel slide back? Where is the key that fits that lock? Continue reading “In Praise of The Room Three”
Nevertheless, willfull ignorance and social media illiteracy are with us and it would be nice to have some tools to ease the burden that such antagonism places on our discussions.
I posted this on Medium last week to almost deathly silence. I thought it would be something people might share but clearly I’ve not built up enough of a network.
One aspect of the Internet that makes me a little melancholy is the fact that so many people have to put the same phrase on their social media bios: “These are my own views and not that of my employer” or variations of that theme.
It’s sad because the Internet was supposed to be a place where people have the freedom to explore new ideas, identities and friendships. Instead, our online discourse is polluted by the anxieties and the obtuse reasoning of the corporate world.
The all-to-common “personal opinions” disclaimer reminds us how our freedom of thought and of personality is curtailed. My heart sinks whenever I read such words, because I know that the person who is writing them is on their guard, insuring themselves against some future misunderstanding or invasion of their work life into their personal space.
I thought I would note the links in one place: first, merely to note the trend; and second because it will aid discussions with colleagues over how to present our own literary content on the fantastic PEN Atlas.
My virtual meeting with Sam has prompted a meandering journey through a few websites dedicated to the stylish presentation of text. I thought I would note the links in one place: first, merely to note the trend; and second because it will aid discussions with colleagues over how to present our own literary content on the fantastic PEN Atlas.
First: Medium is a relatively new site created by Twitter founder Evan Williams. Writers can create beautiful looking stories and essays very quickly. The site has the clean and spacious aesthetic that has become fashionable recently. Design led by the need for readbility and usability on tablets, mobile phones, while also providing a reading experience on desktop and laptop monitors that is easy on the eye. I was delighted that my request for an early-bird account was granted by Medium’s Director of Content, Kate Lee, and I have just uploaded a story to the site to try out the composition features.
Do we owe it to our future selves to provide an uncensored visual archive, the ugly memories as well as the beautiful ones?
I have become an avid listener of the Overthinking It podcast. It is a few guys, chatting via Skype from disparate locations in the USA, shooting the breeze about popular culture.
A recent episode (an atypical two-hander between Matthew Wrather and Peter Fenzel) is called ‘Schroedinger’s Instagram’, and discusses in depth the pop-cultural implications of the recent purchase of Instagram by Facebook. In doing so, they cruise by many of the obsessions and diversions of this blog.
The rise of the ‘selfies‘ (i.e. a digital self-portrait).
Wrather and Fenzel talk a little about party photos and holiday snaps. The way in which people ‘pose’ for ostensibly candid photos has always fascinated me. I know people who make a peace ‘V’ with their fingers, or open their mouths as if the excitement of the moment has overcome them… but then they lapse into a rather glum repose once the flash has fired. They are consciously creating an inaccurate facade for Facebook. Continue reading “Overthinking Facebook and Instagram”
There is a cheaper option to get a printed version of the report.
The Leveson Report is over two thousand pages long, and is published in four volumes. You can download the forty-two page Executive Summary and the four large PDFs that make up the full report from the National Archives (at the grandly named official-documents.gov.uk doman).
However, there is a cheaper option to get a printed version of the report. I have taken the four PDFs and uploaded them to Lulu.com, the print-on-demand website. Each document (I, II, III, IV) costs around £12, and so (with delivery included) one may obtain the entire report for under £60.
Is this legal?Yes. The Leveson Report carries an Open Government Licence (a variation on a Creative Commons Licence) which states that anyone is free to “copy, publish, distribute and transmit the Information”. There is no creator mark-up on the documents (i.e. I do not make any money), so ordering them in this way is analagous to clicking ‘print’ on the PDFs and feeding two-thousand sheets of paper into your office printer!
Why is there such a disparity in price? The answer is colour. The design of the report available via The Stationery Office is printed with a blue spot colour, used in various tints throughout the report. In the cheaper Lulu versions, the content is simply black-and-white.
I have found that the damp and foggy days when the building emerges from midst are when the Shard looks most interesting. The giant looms on the horizon, and one’s sense of scale is confused and compressed.
If you take a stroll down Farringdon Road, from Exmouth Market towards Clerkenwell Green, you will come upon a magnificent sight-line into the City of London. It is not until you reach the Betsey Trotwood and the Free Word Centre that St Paul’s Cathedral emerges on the skyline, but from further up the road, a new landmark is emerging – Renzo Piano and Richard Rogers’ Shard of Glass, currently under construction.
Since I work at the Free Word Centre, I regularly happen across this view. I often take a quick snap with the camera on my phone. Below is an example that has been filtered through Instagr.am.
I have found that the damp and foggy days when the building emerges from midst are when the Shard looks most interesting. The giant looms on the horizon, and one’s sense of scale is confused and compressed, which reminds me of the famous photograph by the Liverpudlian photographer E. Chambré Hardman, ‘The Birth of the Ark Royal’, taken in 1950.
See also the weathered early photographs of Tower Bridge and the Eiffel Tower under construction. Watching The Shard rise, I have a strong sense of being embedded in history. I know that it will become a symbol of London, like Gherkin and Millenium Wheel, or the pointy Transamerica Pyramid in San Fransisco. Watching it grow makes me feel like I am sat inside an iconic, historical image.