Posted on November 12, 2013
I had a moment of catharsis a month ago as the term climate departure entered the mainstream media. The news item in which it appeared was one of many that reported on a feature published in the science journal Nature, which projects that radical shifts in climate will be experienced in the lifetimes of adults alive today.
The authors contend that the temperature ranges reached by the mid 2020s, and associated weather events, should force even the most recalcitrant individuals to re-evaluate their thinking. The Washington Post has a series of maps visualising projected departure dates worldwide, based on global strategies of either business-as-usual or mitigation (there are no real global strategies at this time when it comes down to it).
What does the term mean? Climate Departure is when the coldest year is warmer than the warmest year on record. It can take a minute for that to sink in.
Generally speaking, whatever their convictions, people are too used to the term ‘climate change.’ It has no bite, and my initial feelings were of elation that a stronger and more realistic language was now being employed to describe radical times ahead. Sure, ‘departure’ might lose its edge eventually but I doubt it will be remembered as the tepid description that climate change has become. It already neatly exemplifies the naiveté of the few generations that changed everything for their descendants.
Posted on October 7, 2013
After a good eights months researching the history of Sydney Opera House, I sat down in August 2012 for six weeks and wrote the script that became the main narrative for The Opera House Project. So it was a real thrill to be recognised for the work last Friday.
Here are six of my favourite chapters (find the text versions here):
Chapter Two: 1956, the Year of the Competition
Chapter Three: Jørn Utzon, the Great Eclectic
Chapter Nine: Stage One Begins
Chapter Twelve: 1962, The Yellow Book and the Final Roof Geometry
Chapter Sixteen: Perfection Lost
Chapter Twenty Two: The Return
Posted on September 15, 2013
Months back I spent an hour waxing on about the project, only for a couple of seemingly random quotes to turn up in a short article about Sydney Opera House in Dick Smith’s Australian Geographic magazine. It’s an old school mag, high production, glossy ensemble. Through Bauer Media they produce an iPad version using Adobe DPS in an extremely straightforward way.
Intriguingly, they also use the Viewa AR app to launch ‘interactive’ content on mobile devices. Hence, both iPad and triggered mobile device can playback chapter 13 of The Opera House Project.
Posted on September 7, 2013
This sculptural element is part of the the oddly named Elgin Marbles, presently resident in the British Museum having been transposed from its original position on the east pediment of the Parthenon. It has always been a real great favorite of mine. Read More
Posted on August 22, 2013
Fun to see our efforts up on the big screen alongside multi-million dollar SFX projects, and very happy to receive recognition from the visual effects industry. Rah!
Posted on August 17, 2013
The tablet market is on track to top all laptop shipments this year and, according to an IDC report, will exceed the entire PC market worldwide by 2015. There is not another device that so readily encapsulates digital luxury and portability, whilst subordinating all other screens. Tablet computers are with us in all the rooms of our houses, from the sofa to sitting up in bed. They come back and forth with us to work, and offer most digital services we might need at a touch. Realistically, these versatile multimedia devices are becoming primary points of contact and relevancy between broadcasters and their audiences.
Posted on August 10, 2013