Full Integration

“What we have is so much more mundane than either of those two options, so much less explicit. Your engine notices the time it takes you to respond to things, notices the reactions you have to people, notices who you avoid and your biases start to get taken on by the engine…

All the implicit associations, all the hidden biases, that study after study have shown are in everyone’s heads – they get picked up by engines.The fact that college professors are more likely to respond from enquiries from men? Picked up by the engines. It’s not clear enough to quantify, it’s not clear enough to defend against. It’s not one thing you can pull out of the enormous web of connections and patterns that the engines pick up, and you should have seen the fury when one CEO said, well, that’s the way it should be, engines should reflect the biases of the people who own them.”

In watching ‘My Scientology Movie’, beyond all the fraught tensions, and the complex psychological manipulation – there is one thing that interested me in particular – good actors.

Work with good actors, especially focus on the voice. The voice is the most important thing to a good actor.

Rosie approached me to participate in a long standing collaboration with a primary school near Ealing. She said during our first group meeting about it that it was because of my skills in organising events.

The discussion we had between the four of us, Rosie, Panama, Florie and myself, was interesting, and focused on coming up with what to do on the day that the children come to Wimbledon. Panama and Rosie had already talked about the notion of play, so my suggestion was to create some sort of system – a framework to facilitate open exploration. I mentioned board games, Rosie adding that mathematics is a big focus of learning objectives all through this age group – I responded that one of the most compelling ways to learn about maths is to have a specific application for it.

I remember a project that I got put forward to when I was at school called ‘Operation Monserat’ which was exactly that. We, as the 20/25 or so schoolchildren, were put in charge of the island of Monserat, as it was about to experience a Monsoon. We collectively had to faciliate the emergency response, with small group and pairs working on different areas. Curtis and I were tasked with analysing and sharing the satellite imagery to the rest of the group. There was a man on Skype that the Comms team were constantly talking to – and I remember one point when our feed went down, a preplanned part of the game, we had to go to them and explain the problem, only then did he provide us with a new URL.

I’d really like to create an experience like this.

Shooting Film

A third year set design student who I met recently asked me to play Death in a film, which turned out to be Terry Pratchett’s Mort.

I was acting for two days, and then came back to do sound the next week.

I really enjoyed the whole experience. The people were fantastic and talented, but moreover, it was incredibly refreshing and enjoyable to work together towards a shared goal – a collective endeavour. Each person had a very clearly defined role – from costume to continuity – but each role was crucial to the successful production of the film.

I would love to continue to work on film for this reason, but I would also like to look into other applications or instances of this form of collective endeavour.