WritingMachinesGroup3

Two Ronnie’s Technique

1. Decide Roles i.e Who will give – Answer (Past tense)-Question (Present)-Interpretation (Future)

2. Next the Interpreter decides the medium/parameter of the intended out i.e film script, music etc

3. Play through game in 3 cycles.

4. Transcribe the text, then reverse the outcome, i.e. read the interpretation text then the question text and then the answer text.'

This then forms the basis of a text. It will most likely need some gaps filled, but this is ok. It is only a way to create something at the beginning.

Our machine is a story generator; it can produce back-stories for works.

TEST 1

Adam – Interpreter A film that has been made but has not been released yet

Mat - Paper

Dan – Errrh… how was the initial idea sketched out?

Adam – I want to see how the film could be experienced in a different way…

Mat – Murder… Murdered!

Dan – Errm… What was the… errrh - event that took place that inspired the film?

Adam – That's why content is so important to this future presentation. Without the seriously good performances from all the actors the audience wouldn’t be able to relate to what started off as a simple story written down on paper.

Mat – Bubbles… or Bubbly – Bubbled…

Adam – Bubbled.

Mat – Bubbled.

Dan – Bubbled.

Mat – Bubbled, as in like frothed and bubbled.

Dan – Yeah – I used a certain type of lens to film the whole film. What type of shape was it?

Adam - I really want it to effect the emotions of people. That’s why I staged it in such a way and why it’s going to be presented in this strange way and why I got the performers to perform the way they did. I mean not only was the lens bubbled but the costumes were bubbled – everything was kind of based on a bubble, and within this bubble it allowed them the freedom to really be themselves and I think that’s why we’re going to really enjoy this film together. Emotionally. Together.

TEST 2

Mat - Interpreter An interior, an interior space of a building

Dan – Fiberglass

Adam – What materials did you use to construct this 14-story treehouse?

Mat – Heee… didn’t know at the time, but the processes under which he built a specific part of the roof would eventually, errm… result in him having testicular cancer.

Dan – Cardboard woodpeckers

Adam – There was a song that you use to sing to your wife during the construction of this project – what was it called?

Mat – The light in the space especially in the atrium space was incredibly important and errm… I wanted to make sure that when visitors entered this space that they were truly, truly dazzled.

Dan – Strobing… errh - effigies

Adam – I heard that you threw a pretty wild after party afterwards the construction was completed; you wanted to celebrate by the sounds of it with the workers and really give back errm - What was it that made it so memorable again? I can’t remember what they said in the newspapers…

Mat – No one could ever really prepare themselves for just how many immigrant laborers would die in its construction – there was… let’s put it this way, ample compensation for the workers families and loved ones, but there was still plenty of red tape to negotiate – people die all the time and its just part of life.

TEST 3

TEST 3 - SONG/BAND

Dan as interrupter Mat as Question Adam as Answer

A: Reverberation …Vertebrated

M: How did … this … how did the production change the end result?

D: Arrr … in the end they used to play through emm … 14 story hight speakers with draped tin foil draped over the top of the speakers with coconuts weighing them down at the bottom. A: Tinnitus

M: Did the fame change you at all?

D: During the emm … time frame when it was a … err yeah, during the time frame when it was a top ten hit the band got pretty wild … emm they all the band had an after party one night and err started shoving things in each other people ears … they were like mainly little speaker developed by the drummer of the band who was a bit tech and err … weird

A: Polygamy

M: Why … did you evade … the authorities for so long|?

D: err … the use of … err …materials was high up on the agenda of the band … then eventually we got to the point where we would just sit and listen to whatever was in the room … when we got put in the … when we were moving around the county we would move this on bottle cap an Amstel bottle top that we would place in the … middle of the room and listen to it hours on end.

== EDITED

Adam - I really want it to effect the emotions of people. That’s why I staged it in such a way and why it’s going to be presented in this strange way and why I got the performers to perform the way they did. I mean not only was the lens bubbled but the costumes were bubbled – everything was kind of based on a bubble, and within this bubble it allowed them the freedom to really be themselves and I think that’s why we’re going to really enjoy this film together. Emotionally. Together.

Dan – Yeah – you used a certain type of lens to film the whole film. What type of shape was it?

Mat – Bubbled, as in like frothed and bubbled.

Dan – Bubbled.

Mat – Bubbled.

Adam – Bubbled.

Mat – Bubbles… or Bubbly – Bubbled…

Adam – That's why content is so important to this future presentation. Without the seriously good performances from all the actors the audience wouldn’t be able to relate to what started off as a simple story written down on paper.

Dan – Errm… What was the… errrh - event that took place that inspired the film?

Mat – Murder… Murdered!

Adam – I want to see how the film could be experienced in a different way…

Dan – Errrh… how was the initial idea sketched out?

Mat - Paper

==

TWO RONNIES TECHNIQUE – 27/11/14

The machine uses : Interegation Examines Investigates Quiz’s Enquires Questions Grills Queries Catechizes Pumps Roasts

It uses mechanism of the interview to generate information, however due to the process it inverts and flips the usual power dynamic inherent in the interview. Everything is inverted, Answer first not last, question next and then finally an interpretation. This is further enforced by the use of tenses, answer in the past, question in the present and interpretation in the future.

A further extension of the enquiry could be to feed back the final outcome/narrative into the machine. This is now about embracing synthesis.

This can then be subjected to the same line of questioning however, it can become more refined or parts could be ignored (this process should happen fairly naturally) and due to its reliance on memory only the parts the stick out will be scrutinized.

After a first round of questioning, you will produce a loose narrative, however the information will read in the wrong order. Flip it. Then read it out. This should produce questioning you want answers to, i.e. why is this guy obsessed with bubbles, what is his personality, where is he from. You can then use one of these questions and feed it back into the machine. Each time focussing down and finding answers that determine the structure of the narrative (the character development, the location) – For me this saves time, it means you don’t have to be so laboured over these decisions. It allows you too shift the focus to pure creative production, done collaboratively, so certain decisions are out of your control. This changes the power dynamic, taking certain decisions out of your hands is liberating and allows you to shift your focus, the what, why and how alter.

We have know just completed a second round. We decided to use Test 2 - Mat - Interpreter An interior, an interior space of a building

GAME RUN-THROUGH: STAGE TWO

THE CHARACTER OF THE ARCHITECT\ – No one could ever really prepare themselves for just how many immigrant laborers would die in its construction – there was… let’s put it this way, ample compensation for the workers families and loved ones, but there was still plenty of red tape to negotiate – people die all the time and its just part of life.

– I heard that you threw a pretty wild after party afterwards the construction was completed; you wanted to celebrate by the sounds of it with the workers and really give back errm - What was it that made it so memorable again? I can’t remember what they said in the newspapers…

– Strobing… errh - effigies

– The light in the space especially in the atrium space was incredibly important and errm… I wanted to make sure that when visitors entered this space that they were truly, truly dazzled.

– There was a song that you use to sing to your wife during the construction of this project – what was it called?

– Cardboard woodpeckers

– Heee… didn’t know at the time, but the processes under which he built a specific part of the roof would eventually, errm… result in him having testicular cancer.

– What materials did you use to construct this 14-story treehouse?

– Fiberglass

- Tony Fritz was into grasslands and grasslands project and inserting new materials into buildings at that point he was investigating marshland structures usually things sitting on or about trees, I was all up in the glass revolution that was happening at that point so we thought it seemed like a good project to collaborate on for the new head quarters we were building.

- It being in a tree from the moment go suggests and em suggests that there could be a lot of problems with the basic layout of the building but I was wondering with regards to its angular shape do you think the inter of the geodesic roof em adds or takes away from its integral structure?

- Radicalised

- During a trip to Berlin in the early 2000s opened my eyes to the range of unisex toilets and toilets facilities that were widely available at the moment and it was a wild time and thats where i met my co collaborator Tony Fritz

- What made you decide to have uni sex toilets?

- Cohabitation

- There was 20 storeys of meta-levels in the building on the whole so that doubled the amount of meta-floors so there was so many meta floors between the 14 floors that existed so there was ac instant view of the floor below or above?

- How many we know that … there was 14 stores but how many levels are there within the stores

- Opaque

- After hanging out with these hippies as he use to call them, he realized that they weren’t really hippies in the sort of traditional sense of drop-out, stoner - losers, they were kinda more radicalized in a way and they use to read this journal called ‘Cube’ that you’ve heard about… and in there was a great platform for mixing new and exciting types of architecture, social housing, night clubs, free raves, organic farming, small collaborative manufacturing of small metal based products, vacummed formed out fits made out of plastic which no one had done before and the reintroduction of motes however it was heated and was also used recreationally.

- In your early days you use to publish a lot with what you call the hippies - what was your favorite publication at that time?

- A cube… Cube

- Seymour often liked to recount this story with quite fondness of being arrested having his hands cuffed behind his back together he said that it was at that moment sat in the back of a police van with 20 other sweaty, long haired hippies that he realized that he needed to change… and that he found it incredible that two useful things like hands could be so close to one and other yet rendered so completely useless, so he thought - we should all be able to live together somehow, even if I am surrounded by these dirty hippies – maybe I can learn something from them too…

- Who and what inspired you throughout your career and how would you say they have come to influence your practice?

- Handcuffs

- Seymour Bauman, was an eccentric architect. He was as well known for his progressive designs as he was for his wild personality and social life.

- If you could name one domestic item that would sum-up your personality at that point what would it be?

- Fruit Bowl

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ORIGONAL

Mat: Fruit Bowl

Dan: If you could name one domestic item that would sum-up your personality at that point what would it be?

Adam: Seymour Bauman, was an eccentric architect. He was as well known for his progressive designs as he was for his wild personality and social life.

Mat: Handcuffs

Dan: Who and what inspired you throughout your career and how would you say they have come to influence your practice?

Adam: Seymour often liked to recount this story with quite fondness of being arrested having his hands cuffed behind his back together he said that it was at that moment sat in the back of a police van with 20 other sweaty, long haired hippies that he realized that he needed to change… and that he found it incredible that two useful things like hands could be so close to one and other yet rendered so completely useless, so he thought - we should all be able to live together somehow, even if I am surrounded by these dirty hippies – maybe I can learn something from them too…

Mat: A cube… Cube

Dan: In your early days you use to publish a lot with what you call the hippies - what was your favorite publication at that time?

Adam: After hanging out with these hippies as he use to call them, he realized that they weren’t really hippies in the sort of traditional sense of drop-out, stoner - losers, they were kinda more radicalized in a way and they use to read this journal called ‘Cube’ that you’ve heard about… and in there was a great platform for mixing new and exciting types of architecture, social housing, night clubs, free raves, organic farming, small collaborative manufacturing of small metal based products, vacummed formed out fits made out of plastic which no one had done before and the reintroduction of motes however it was heated and was also used recreationally.