ABOUT ME

I am a London based Designer, Researcher and Creative Technologist. I graduated in Design from Goldsmiths University (2019) after completing an apprenticeship in Computing.
I was recently selected to be a Rising Star in Service Design by the Service Design Fringe Festival for my project, Pre-enacting Predictions. Click the pictures to the left to see my work!

Website designed and built by Lily McCraith

ABOUT ME

I am a London based Designer, Researcher and Creative Technologist. I graduated in Design from Goldsmiths University (2019) after completing an apprenticeship in Computing.
I was recently selected to be a Rising Star in Service Design by the Service Design Fringe Festival for my project, Pre-enacting Predictions. Click the pictures to the left to see my work!

Website designed and built by Lily McCraith

Now Make This / Project Project

YOUR NEW AI DESIGN COMPANION!
A project for making projects. An AI machine which generates sets of instructions for new projects to make. No design necessary!
Prototyped using Arduino and a thermal receipt printer, and AI text generated using GPT2 Neural Networks. My next step in the project is to make and follow a selection of these instructions and see how they sit and operate in reality, outside of the algorithm. I am no longer a designer, but a maker, a facilitator, of the neural network.

AI PROJECT BOT SAYS:

Use a small bit of oil to lightly cover the last corner of the model.Place the second layer of the mold over the first. You should move the bit around the inside corner of the first mold and around the inside edge of the second mold, making sure that the oil is only covering the inside corners of the first and second mold.Once the first layer is laid, place the second over the first and second over the first and second.Don't forget to add a few inches of clay to the middle of the mold where you made the mold walls.Once you've finished the top and bottom edges of the clay model, you can put the model in your model building. Here, you put in a nice clear and present a cozy image of your home. However, if you’ve decided to hide the model in an old curtain or vest, this could be your model missing.If you're using a non-Cement-free model, you'll want to drill holes in the clay model so that the back of the model is covered with the back of your model's Cement-free clay.Using a 7" drill bit, you can drill and indentify the inside edges of the clay model. Be careful not to indentify the clay model too much.Use a 3 or 4 in (1-inch) bit to make sure that the two inside corners of the clay model are flush.Build a small wooden fence around the model to watch the sun set on your new cheese.

Steps

1.Find the middle ground. Since the clay model is made from Cement-free clay, you'll want to make sure that whichever wooden post you’re building is made from the same clay as the model. Trace the Cement from a little spray-hee so it’s not dripping. Tighten a bit of clay to make sure the wooden posts are flush.
2. Make indentations. Cement is great for cheese making, but it can also be difficult to keep track of which wooden posts to make. Try to keep track of which wooden model to make. When you’ve forgotten what each one is for, add an extra wooden post to make it. Trace the chalk from earlier with a little or no glue.
3. Remove the wooden posts. You can skip this step altogether if you want to make use of the wooden surface you sawed and cut in the shop. Remember that each one is made the same and will likely be slightly different in design. Use a pair of wire cutters to cut down through the wooden posts to the wooden inlet that you sawed them. If you’re building an entire model house, you may already have a large enough wooden base to hold your model. Err



SCHOOL OF MAKING 110: LONG HAT, POLISHED


Keeping our trouserscomb long and high; henceforth of a slightly shorter cut than the front. “I’d like some long-sleeved cuff links, instead of the usual 5, 10, 15, or 20. Here’s where the slip knot is a potentially very useful feature, as it allows you to ‘configure’ the direction and height of the loop at any point in the project. I have included the configuration in the next lesson, in which we will be tackling the difficult art of fabricatively assembling a hat.
INSPIRATION
Now it’s time to VIEW the world around you. What will you expect when your hat walks around the room, where people have had happy accidents and shared the same food you’d made a million times? Who is going to look for you at the nearest convenience store? The world around you will be awash in possibilities that the Silvertrip is introducing you to. It may be that you’ve got a new friend and decided to wear your hat to a doughy workplace, alone and alone in itself. Either you’ll like it or youll like it. The possibilities are endless – in this lesson, you will be learning how to sew your own fabled hat, ready for the world. Did you ever think you’d be wearing a hat to work whenever you’re working, when chances are you might get cold feet and start shouting ?” No, you don’t!” You will learn how to wear a hat to work, ready to roll up in the world of crochet! You’ll learn how to make a hat that’s a bit warmer than you’re tall, and a bit shorter than you’re lbs, and with pockets that will hold your cashmere sleeves! The original question was because a t-shirt sleeve would be warmer than a head of hair. Now, with a knit hat, you can suit up as favourite Étchock, my favourite person, and represent his or her attitude with style by designing his t-shirt designs. You’ll also be able to create your own t-shirt from the hat itself, with adjustable sides to make it taller or shorter depending on what people think of your hat. In this course, you’ll be designing the âT chape átraité, myrina’s treble design of catwalk style, and Ángeluca’s cathedral style. I’m not suggesting that you try alone or that you should follow me on instagram – just make sure you choose something unique to follow (and don’t post anything from the tutorial without my express written consent). If you’re into medieval and renaissance cathedrals, then this is perfect for you! In the final lesson, you’ll be designing the form of the round hole in the side of the hat. With Ángel ccaillà and its constituent parts roughly 40 cm (12") long, this is just the first of a two part sets of tutorials. You’ll also need guides, and in this part of the year, the shape of the hat is often the deciding factor in the design of a jewellery box. There’s a guide for that in the jewellery box design manual – and a tutorial (also under construction) online at: hsmag.cc/JtaOzL. Expert reviews of the different types of hat have given insight into the world of manufacturing and made even the most complexible garments – from padded toeteglass to jewellery – ready to pare back the details. So, where have all the experts been? This is Google, so let’s just search for “geocaching’ and find experts with expertise in: Acoustics, Audio, Design, Electronics, Miscellaneous, Living room, Audio, GIFs, GIFs, HOT Video, Audio books, GIFs

Pre-Enactors Almanac

A (Pre)-search publication, documenting the activities of the Pre-enactors Guild. Issue 1.

I began researching the history of almanacs as publications which share predictions and prophesies. They are historically a guide to the coming year, including information on the weather, farming and finance, as well as horoscopes. These are all disciplines which use 'pre' as part of their practice. Focussing on the Almanac as an object of 'pre', the Pre-Enactors Guild has published an almanac of its activities and investigations into the pre-enactment and the 'pre' prefix.


Pre-enacting Predictions

In order to understand politics, we need to embody them. The Pre-enactors Guild is a performative research body, investigating pre-enactments and their role as tools for rehearsing contested futures. As well as publishing its research journal, the Pre-enactors Almanac, it uses participatory methods to co-write scripts for site specific pre-enactments.

A Pre-enactment is the rehearsal of something which has not yet happened, such as a fire drill or disaster management exercise. Claiming this technique from large organisations who formally enact risk to prepare for the future, The Guild seeks to test new definitions of pre-enactment and allow anybody to pre-enact.

In its most recent research investigation, the Guild has collaborated with a world-famous psychic, a city stock-broker, a local resident and an engineer, co-writing a script of site-specific predictions based on a new housing development in Deptford, London. Through the participatory process of roleplay, rehearsal and speculation, the script is an active method of testing the uncertain and troubled futures of the development, allowing audiences and enactors to question the politics of this site by collectively enacting scenarios into reality. The script used the architectural hoardings as a set, being predictive visualisations of a future which has been decided by unknown parties with troubling politics.

Inspired by ancient traditions of Guilds and Giants, such as the Salisbury Giant, the Pre-Enactors Giant is the Guild's mascot of pre-enactment, making public the activities of the guild as the Giant processes down the street to its next enactment.

We Go In A Circle And End Up Writing A Book Residency

A collective DIY writing residency which took place across several laps of the circle line. An exercise in producing together, rapidly and inclusively. "Using this circle of time and space we will collect language and observe the collective experience of the journey. We will be looking at the recycling of language – re-ing language. The differences that emerge when language is re-enacted-peated-constructed. Using writing as an experimental making tool we will model and mould language we encounter in this site, turning an everyday act into a writing residency. Viewing writing in its broadest sense, as not only word on paper, but as enactment, as performance, as movement, as communication. Writing as freezing a moment in time - committing it to memory." The collective writing produced during the residency has now been made into a book. The book is a circle itself, with no beginning and no end, reflecting the process of production. In collaboration with Kaiya Waerea.

The Milk Has Turned Against Us

Book design and publishing for the Goldsmiths 2019 Degree show.

(P)Re-Search

A piece of writing and research on situated practice, site writing and the 're' prefix as a method of knowledge construction in design. "The Design discipline is one which spans others, a parasite, frequently adopting methods and approaches from other disciplines and terrains of knowledge production. It has traditionally been underpinned by the scientific method. I believe in a Design practice which rejects sweeping generalisations and assumptions; designing one size fits all solutions. ... I argue for a situated practice of research, one which acknowledges partial perspecitves of vision", ""Location is about vulnerability"(Haraway, 1988) and this is something which rings true to my experiences of writing in a site. An exposed rehearsal on the stage of Salisbury. The meeting of site and body forces a collaboration of unpredictable consequence, rendering writing a vulnerable process... The site happens to you, and you happen to the site too."" You can read it here here

Knowledges of Novichok

The Novichok nerve agent attacks in Salisbury 2018 have been investigated via the 're' prefix. Looking at police methods of re-constrcution and re-enactment, I visited Salisbury again and again, attempting to gain new knowledge about the attacks. From reconstructing the poison vessel using 3d printing and scanning to a 1:1 reconstruction of Salisbury Zizzis

CTRL+F+DESIGN - THE X FILES

Where is the Design in the X Files? Finding every occurence of 'design' in the X Files using CTRL + F. I also wrote a script which analyses and counts word occurences the entirety of the X files, producing a language dictionary.
Coming up soon : I am producing some new AI episodes of the X files.

TUTOR BOT

A Twitter Bot which gives advice to students on the BA Design at Goldsmiths when they tweet it. It was coded using a Markov Bot, using the language of the tutors on the BA Design.

3D MODELLING

CORPORATE DESIGN // THE OFFICE

We are a 40 person cardboard office which is both real and fictional. We are now office workers, compartmentalised by cardboard sheets and staring at cardboard coffee cups. We are now documentary film makers, navigating narratives of collaboration and production.
Corporate Design was an attempt to experiment with our own education and exploit the agency that comes with large groups of people. An educational/social/political experiment. It was born out of a conversation about our dream of a whole year group project, where everybody would work together on a mass-collaboration. We wanted to test out new ways of working together as a group of people, forms of non-hierarchical self-organisation. Was this possible? Would it fall apart into chaos?

HACKATHON - RIDE THE MARKET FUCK THE SYSTEM

Made at Sex Tech Hack, Goldsmiths University. I co-designed and built on an arduino powered vibrator which used stock market data to experience the ebbs and flows of financial activity. It existed as a 3d printed fist prototype, an ironically anarchist symbol. What does it mean to let a financial crash or a stock market control you? The project was featured in New Scientist Magazine as well as in several other online articles. See the issue here. It has also made it onto the Transhumanist memes facebook page.

ARCHIVE

COLD WATER CLUB

A short film exploring the love of cold water swimming. Many thanks to the cold water swimming communities in Brighton and London who welcomed us into their world and shared insights into their lives. In collaboration with Conrad Magan, Matilda Greenwood and Imogen van der Pols

LOST NOTES: AN INCIDENTAL INVESTIGATION

A discarded pile of notes and a business card found on the street become the starting point for an investigation. Deciphering an unknown author’s handwriting reveals a hidden language of places, minerals, processes and strategy, specific to the mining industry. Layers of abstraction mask the reality of the geopolitics, ecological violence, and exploitation of workers who mine conflict minerals. Phrases such as “minimal traceability framework to avoid conflict” and “Worked with local communities to reduce local tension” are scrawled onto the branded note paper. As the investigator, I am forced to question my own complicity within this system. I write these words on a computer made of lithium and tantalum - whilst such resources are violently extracted in locations obscured, by companies speaking at the conference where these notes were written.
This project was developed when I was part of the School of Speculation, Summer 2019. The project was exhibited at the Design Museum and the South London Gallery and later developed into a publication.