Asides

Sponsored links added to Delicious RSS feeds

Aside | | Paul Greer

If you follow my link feed (I’ll include this post in there too), you may have noticed some adverts coming down that stream.

This is a new development, announced just the other day by the new owners of bookmarking site, Delicious. They will be inserting ads from now on in all their RSS feeds to help pay for overheads.

I’m not keen on unsolicited ads so will be moving it over to Pinboard as soon as I can. No further action required on your part.

I am still in bed with the Englandshire Winter Virus, so please bear with, it might take me a few days to sort it out.

In the meantime look at these amazing animations by the mysterious Volvulent.

Mission Statement 08/02/2016

Aside | | Paul Greer

Hello.

My name is Paul Greer I work at BDH Design and Direction in Bristol making computer animation for the television and other formats. I live in the West of England. I am married with three children.

In my spare time (distant laughter) I draw, write and play with animation.

I started this blog nearly ten years ago as a mixture of a scrapbook of internet things, a log of my professional work, and an archive of my more personal art and drawings.

My main interests are animation and investigating different ways of telling stories with pictures. I also like to post about music, tech, film, friends, politics and comics.

This is a very exciting time with regards to story telling and the ways those stories are disseminated so I would like to connect with people who have a similar interest in radiant experiments with media, and who might like share what we can offer to that project.

As well as this I would like to use this blog as a research station and personal feedback loop to reinforce and encourage my creative life, hopefully providing a resource and point of encouragement to readers as well.

Here is a gallery of the some of work I have been part of or have been fortunate enough to make myself.

Fortune: “Done is better than perfect”.

Continue reading →

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Aside | | Paul Greer

So we went up to the London Hilton yesterday as we got the nomination for best content graphics at the National Royal Television Society awards for our work on War of Words: Soldier Poets of the Somme. We were up against Doctor Who (although why that wasn’t submitted into the effects category I needed explaining to me), and Sports Personality of the Year, the latter of which won out.

It’s a crazy process sometimes because you try not to take it too seriously, and when something that is so completely different to your work does win, that becomes easier.

We are still so very proud of the work we did, it was a once in a life time job, and a marvellous team effort from Hugh Cowling, Libby Redden, John Durrant, Tim Marriott and Steve Burrell.

I’m still working out what this site is for, and I have had it for nearly ten years now. I just want a space that is mine where I can put stuff on my own terms. Also build up a resource and life record of sorts. That’s what these really long posts are for in effect. My ability to write anything was slightly thrown by the events of the last few weeks I have to admit. But it is in times like these that the world need more art not less. So let’s keep going, and communicate and resolve.

Listening

Nadine Shah – The Gin One

Grimes – SCREAM ft Aristophanes

“Actually, there’s no secret. One simply pulls the cork out of the bottle, waits three minutes, and two thousand or more years of Scottish craftsmanship does the rest.”

Aside | | Paul Greer
  • INTERVIEWER: Let’s start with obsession. You seem to have an obsessive way of repeatedly playing out permutations of a certain set of emblems and concerns. Things like the winding down of time, car crashes, birds and flying, drained swimming pools, airports, abandoned buildings, Ronald Reagan . . .
  • BALLARD: I think you’re completely right. I would say that I quite consciously rely on my obsessions in all my work, that I deliberately set up an obsessional frame of mind. In a paradoxical way, this leaves one free of the subject of the obsession. It’s like picking up an ashtray and staring so hard at it that one becomes obsessed by its contours, angles, texture, et cetera, and forgets that it is an ashtray—a glass dish for stubbing out cigarettes.
  • INTERVIEWER: So you rely on the magnetism of an obsession as a way of proceeding?
  • BALLARD: Yes, so the unity of the enterprise is forever there. A whole universe can be bounded in a nutshell. Of course, why one chooses certain topics as the subject for one’s obsessions is a different matter. Why was I obsessed by car crashes? It’s such a peculiar idea.
  • INTERVIEWER: Yes, why were you?
  • BALLARD: Presumably all obsessions are extreme metaphors waiting to be born. That whole private mythology, in which I believe totally, is a collaboration between one’s conscious mind and those obsessions that, one by one, present themselves as stepping-stones.

from the Paris Review

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