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. I am also a co-director of Midge Press, 'a lasagne of printing and publishing'. 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. I am also a co-director of Midge Press, 'a lasagne of printing and publishing'. Click the pictures to the left to see my work!

Website designed and built by Lily McCraith

Now Make This / Project Project

"MY NEW AI DESIGN COMPANION! No design necessary!"

A project for making projects. An AI machine which generates sets of instructions for new projects to make.
Prototyped using Arduino and a thermal receipt printer, and AI text generated using GPT2 Neural Networks.
My next step 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. You can read some of the AI instructions below

When you're done, you're done. Making a Robot Printable Map


1. Measure 2 pieces of cardboard to create your map (you can choose cardboard or paper). Make 2 of each piece, and cut both into 1/4 inch (1.8 cm) wide strips. Print out the strips as shown, and cut a ⅛ inch (1.3 cm) cross section (2.2 cm x 1.4 cm) between the sides of the cardboard. Cut the strips as shown, and glue the strips to the cardboard using a glue gun.

2. Place the map on your computer. Find a flat surface that is flat and flat-sided, like a deck or car. Place the map on this flat surface and make sure that it’s centered along the top. The top should be slightly raised, making it easier to locate the map. You can also adjust the orientation of your map by holding down the map button. If you find it hard to locate the map, you can place it anywhere from 1/4 inch (1.8 cm) to 12 inches (30.2 cm) away from you. Take the top off of the surface you made and place it on a smooth surface (or make a makeshift table). Use a pencil to outline lines on a piece of wood that are exactly the same size as the piece you placed the map on. Repeat for the entire surface.

3. Cut 3 strips of cardboard to 16⁄64 inch (30.2 cm) wide. Cut a 2 inch (0.24 cm) wide strip of cardboard. Write your name (optional) on one of the strips.[1] Cut strips of cardboard as shown. Choose 2 black and white paper clips, 2 white tape, and a black felt. Leave the black felt alone, just to prevent the paper clip from splattering the cardboard. The felt is best for laying down roots, as that dries quickly.

4. Cut 6 inches (30.2 cm) of cardboard into the 1⁄2 inch (1.8 cm) wide corners of the map, using a tape measure. Tape the edges with a felt. Tie a knot between 6 points on the edge (optional) so that the ends of the paper clips will be pointing straight up. Leave the felt on the bottom. The tape measure works best on the map, which is 24 inches (91.8 cm) long. If you’re printing out maps, like with all projects, be sure to lay out your printer so that the two corners are the same size.

5. Clamp each of the corners to the cardboard. Use 1 1/4 inch (5.25 cm) clamps to hold each rectangle to a piece of cardboard. Start by laying the clamps on the cardboard, so that the edges are flush and the glue holds them in place.[2] You can test the clamp placement with a 3D model, as you will see later in the tutorial. Be careful not to touch the glue, as it can damage your model. Image titled Print a Map Step 9
6. Slide the clamps onto piece of cardboard. This will put it onto the wooden poles placed next to your model. Line up the wooden poles
I always like the fact you can use them either for the purposes or as a sort of "gift" to a friend. I use them a lot for an old car as well as because they're a fun toy to play with. For those who don’t own a car, I recommend buying a second one. The first is a slightly larger, cheaper alternative made by another company in Switzerland. The second one is made out of something called a ceramic pipe brush which can be used for a wide range of things such as carving, carving in plaster, woodworking, or any other kind of metal work. I recommend buying the latter separately since I find that it is a quite inexpensive way to make ceramics and other non-destructive forms of woodwork.



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 and divination. As part of my research into the 'pre' prefix, I focus on the Almanac as an object of critical publishing and 'pre'-diction/enactment for the Pre-enactors Guild. (see next project for further context)


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. All through the lens of a site-based approach to investigating Novichok in Salisbury. "The Design discipline is one which spans others, a parasite, frequently adopting methods and approaches from other disciplines and terrains of knowledge production.... 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".... 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

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. Investigating the political theatre of the event, and its potential for design practice.

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

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.

A School for AI.

A proposal developed with Soul Miles

Artificial Intelligence needs a radically different education.

AI’s are taught by data scientists, using vast training datasets containing thousands of examples of the things (objects, words, faces...) that the system will eventually identify. If machines were taught in different ways, with entirely new curriculums, how could this change the behaviour of biased and violent systems? By considering the pedagogies of AI, could we have fairer, more caring machines?

We propose a school for AI. An alternative, participatory department of algorithmic education.

We will work with researchers, data scientists and the public to assemble new visions for datasets and democratic training models which co-opt/hack/radicalise machine intelligence at its infancy. The first stage involves designing a new curriculum to teach AIs, by expanding glitches, crowdsourcing data, questioning algorithmic bias, hacking new, accessible ways of generating many images (eg, What if you extracted every frame of a film? Attached a camera to your hat which took pictures of clouds over a week? Extracted images from the Argos catalogue?) The second stage is the education of AI’s at school. The experimental classroom will pair a member of the public with a ‘student’ AI system, to collectively and critically teach Google AIY AI’s.

At the UCU strikes at Goldsmiths there is a black banner with white, bold, capitalised, Ariel lettering which reads: “THE UNIVERSITY IS NOT A FACTORY”. This slogan is doing the rounds as “knowledge for knowledges sake” is dismantled by the “marketisation of education”. Running in parallel to this -insidiously and equally- is the opposite which is also true, the education of the market. Certainly factories are now universities of sorts. AI’s ingest bland, homogenous slabs of Big data, and learn. And now, urgently, we have a pedagogy of AI which needs considering.

AI pedagogy has two opposite injustices, in an ideal world they would be each others solution, but this is not the case:

1_Big data ain’t big enough:

Machine learning is a tool of averages. So difference is often placed in a blindspot, real people are represented vicariously through data, and when that data doesn’t include enough people like them you get things like; facial recognition cameras with a 19% success rate, being installed into an East London shopping centre, cameras which are especially bad at recognising POC and women.

2_Big data is too big:

We can comfortably assume that all of the products that Google sells are data collection points, little black holes which absorb the information we give off. This Data is passed on to a 3rd party which has a 3rd Party which has a 3rd party (and so on and so fourth) it exponentially duplicates and spreads outwards into unregulated territories. AI pedagogy (as it is at the moment) needs this IoT.

Google’s AIY robots (Google’s children) are small cardboard boxes with a blank DIY AI inside. We want to work with academics, researchers and the public to assemble datasets and training models which co-opt/hack/radicalise these bots, both internally and externally, digitally and analogally.

An example of an AI learning curriculum is the somewhat bizarre MNIST Fashion dataset (image attached). A catalogue of 60,000 28 x 28 grayscale images of fashion items (Trouser, Pullover, Dress, Coat, Sandal, Shirt, Sneaker, Bag, Ankle Boot) is fed into nascent machine learning models in order to test whether they are functioning properly. These 9 categories are what the AI thinks of as fashion, no more, no less.

“We’re surrounded by invisible but powerful forces, monitoring us from devices scattered throughout our homes, even placed on our bodies, and those forces are busily compiling detailed dossiers of us. They pass the contents of these dossiers onto shadowy, unaccountable intermediaries, who use everything they learn to determine the structure of the opportunities extended to us - or, what may be worse, not extended. We’ll be offered jobs, or not; loans, or not; cures, or not. And the worst of it is that until the day we die we”ll never know which action or inaction of our own led to any of these outcomes” Radical technologies, Adam Greenfield.

AI school will work in a participatory and collaborative way. We want to produce, with the public, a set of critical experiments which can be exhibited, talked about and built collectively.