Math – The Passion of Alan Turing

Math
The Passion of Alan Turing
by dl willson
Opening Scene

open to :

A hand… an apple is picked up from a pile.  It is held.  It is injected with a syringe. It is slowly about to be placed on an old kitchen table.  Diane Birch’s “Magic View” plays

( http://open.spotify.com/track/7IoGPqAKsP5ItCqO8ZfVG6)

Ext. Turing Home – Sunrise

We open on a house, in the words of Joyce’s Araby, “at the blind end, detached from its neighbours in a square ground.”  Tracking in slowly we hear a mumble

V.O.

Morcom.

…and the year,”1954″, appears on the screen.  Like pings of noise, or Brad Pitt in Fight Club …there are flashes of frames of the violence of WWII, the holocaust, the great strike, upheaval in India, computer keys being typed, the noise of the city, the iPhone, computers, city streets, celebrations of D-Day, gay pride, Iran twitter feeds, etc.

…and silence, again, as the tracking stops,… framing the lonely English house.

cut to:

Int. Bedroom – continuous

We cut inside to a partial view of a man mumbling in his sleep as the sun is trying to creep around the pulled shades. We see a glimpse of what may seem like a breast…but it is definitively a man’s voice whispering a man’s name.

Alan

Morcom…Please Morcom….please.

We see his shadow wake and exit.

cut to:

Int. Kitchen – moments later

Apples sit on the table in a disorganized kitchen.  The figure passes them.

We see running shoes packed behind others and the figure passes them and steps back into frame looking at them.

Ext. Turing House – soon after

The sun is just rising as Alan Turing, 41, is exiting in proper running clothing, the shape of what seems like breasts show through his thin running shirt.  As he is walking to the road a day worker comes around the corner. Turing sees him and stares for just a moment before heading back into the house.

cut to:

Ext. Turing’s House – later

Turing is about to run from his front yard, when a worker comes walking up the road. Turing turns to head back in.  He drops a large sweater he was carrying but decides not to retrieve it. The worker notices Turing drop the sweater and retrieves it.

Worker

Sir?!

Turing stops and half turns. Smiling large like that of a man who helped his country defeat the biggest evil the modern world had ever seen.

Worker

You dropped your sweater, it’d be big enough

you’d think yo…

The man notices Turing’s small breasts… …and stares before his reaction changes.  Turing sees his reaction but ignores it.

Turing

yes. Well, …I am getting older

Turing chuckles to the man staring in disgust.

Turing (cont.)

I seem to forget things… Well thank you

Worker

What the bollocks is wrong with your…

Turing turns to enter back to his house.

Turing

Thank you.

He heads back toward the house as the man continues on his way.

Int. Turing Kitchen – moments later

The apple is in Turing’s hands as he places it down on the table near the pile from which he had gotten it.  He goes to the window to see if anyone is now in sight.  He puts on the sweater.

cut to:

Ext. English Roadside – Late Morning

We see him running sweating profusely from wearing a large over-sized sweater in the middle of the summer.  His feet get louder as poem rolls over in his head.

Turing (V.O.)
Hyperboloids of wondrous Light
Rolling for aye through Space and Time
Harbour those Waves which somehow Might
Play out God’s holy pantomime

He repeats this over and over to the rhythm of his feet.  As we watch the feet…

fade to:

Ext. Railroad Tracks – Day

…they become a child’s over railroad tracks.  We hear Indian dialects shouting like a market merging and fading from his poem. We see Turing at 8 years old running along tracks with a note in his hand.  It is a telegraph from his parents… He falls.

Superimposed image. of the scene his mother is describing in the telegraph- India in the 20′s and we follow a man arguing with a group of Indian men to place the railroad ties correctly…as they sit watching.  It is Julius Turing…

What is Hyv?

Hyv was originally short for Hypervideo when I coined it 6 years ago. It became an architectural (both content architecture and technical architecture) term for the teams I work with for use of and implementation of interactive tv/film/transmedia interface… …where in the data/metadata that would be in the hypervideo would be transportable/interoperable. Further taking it to be “layerable” We have pushed for half a decade for browsers to implement transparent synced layers. The “hyv” layer then would have metadata etc for implementation both with HTML5 & the Hyv layers…making it transferrable to other medium and artifacts. It makes it easier in our specific implementation for interactive film/television, game development that is heavily based on video and platforms outside the screen including augmented reality, transmedia and multi-platform and artifacts in the real world. It has lead to us creating what we call portkeys, wormholes, & horcruxes (artifacts that are keys in the real world)…That are portals within and into and between stories and productions, that link to the outside world and that link to integrated retail. It has also raised the spectre of varying timecodes/timeclocks in story/audience worlds.
We also have been lately using the term in naming an initiative we have been forming between game developers, filmmakers, journalists, web development etc… to Innovate Storycube content architecture via Transmedia and more integrated forms of Content with geo-location, the cloud, the browser, augmented reality and inventing a new writing format for story inception.

Three of the little Oids from Legend of Heaven

The Little Oids from Legend of Heaven

Inca,

Kansas

Hopi

Test using ol Chad Case tease

Testing the hypervideo/AR link from page image. “Felicia”

SOPA/PIPA is bad… (as I have repeated for months) but can we stop with the crap spin on both sides. It’s what got us this bad bill in the first place. This morning in a long commentary by the 99% web dev people cheering themselves on I posted this retort.

Maybe you all should learn a little more about what kind of signatory agreements are embedded in those complex collaborative content structures that you all are pontificating on but have never made. TV and Film are made through a safety net for those workers and collaborators (actors, writers, grips, electricians, camera operators, etc etc…) that are voted on in unions that keep the studios from taking advantage of their work.. including massive rules and legally binding revenue structures for how they distribute and deliver …protecting from being taking advantage of the one or two jobs they may get a year… or internet companies that are making moneys off the content’s distribution and use of to attract people to their revenue sources.

Inherently SOPA/PIPA is bad… but I am tired of the idiot …yes… idiot and arrogant arguments about people lecturing on an industry and a product that they know nothing about.

I left all those signatories because of because of the restrictions they inherently had and it may be that much of them were needed. Because I knew they would be impossible to make things under and not experiment with distribution. That does not mean I think it is okay for people to not recognize piracy effects all of those unions and people protected by their associations (even when they humanly over reach as does the web dev industry).

The model has to change. I have been arguing it for years…that BOTH the tech industry AND studios networks have to address. Millions of people and products and industry is dependent or heavily effected by the complex content industries of TV and Film.. they are very different than the music and publishing industries. Web dev and start-up VC’s industry as much as the studios have had a “it’s their problem” attitude for a decade. Small quibbling as they build structures that are heavily reliant on the other.

Content architecture and production/delivery systems of those industries have to change. But if you are going to argue that, you have to also fight the technical industries that have licensing restrictions (including the “open” ones), of their own… and build architectures that are lead by the know how of people who understand audiences as much as people who understand users. The numbers and studies on piracy have been biased on both sides but if you look at historical downturns and how we recovered..and what the film industry’s FULL REAL numbers are right now…they are not good with the landscape we have. As a country, film taxes actually helped us massively in the recovery of expenditures after the depression.

This bad argument about piracy “helps the entertainment industry” is bad because you do not understand the protections and risk of complex content production. Never mind the impossible task of actually making it good.

SOPA/PIPA are bad… Again the industry model needs to change to make the content cubic and layered as to create an opportunity for content to become a platform itself (without damaging the content) where the revenue model becomes viable to be a “push” industry instead of a “pull”. It also (by making content of film and tv …cubic, multi-platform, cross device integration and layered) makes piracy a thousand times more difficult.

Both extreme and ill informed sides of this debate should start to have some humility. Realize they have very little knowledge of the other side. And start to focus on mutually beneficial answers, and not reinforce the ones that protect their own interests or image for career and personal/political gain. Innovation, the internet, audiences, the general public, the world economy (which yes is heavily dependent on those evil studios and networks) will be hurt by these bad polarities that everyone is throwing out as if they are an expert on the opposite side which they really know enough knowledge to be very dangerous on. Only a handful of people are fighting to solve the problems…everyone else is sheep or power players trying to keep their power.

and it’s gross.

SOPA, PIPA, and Louis C.K.

If you don’t understand signatory union contracts and financial and legal responsibilities and scale of them … You should not be talking about piracy, SOPA, PIPA, Louis C.K., false #’s, the effects of the entertainment industry as ,arguably, the world’s second largest industry, a clear understanding of distribution/exhibition negotiations in collaborative media, the recorded history of progress that the film industry has effected (have you read the story of how US personnel used films as the common lexicon to bridge ethical differences in the middle east? And how social media /rhetoric ..just as Aristotle predicted.. can do the opposite as much as the same?). How many innovations did people like Steve Jobs and others created because of the dreams of the movies that were made under massive residual structures that were inherently in the scale of the same signatory agreements that burden and protect those same intensely complex collaborative productions today that conflict with the “piracy” that much of the web community belittles as not a problem. These same signatory agreements that protect millions of workers at the same time they burden and overreach.) Productions and content that elevate, drive, afford and deliver as much to this world not only in our history but will in the future.

The dialectic is often only truly informed by period and structures of communication that are incredibly complex and artful in the convergence of a long singular form that has complex protective agreements in how they are delivered and channeled. If you are going to blindly protect the channels openness at the cost and reward of a better content you have failed.

…and Vice versa.

I am sick of the greed, ignorance and false statements in the self-serving and cheesy marketing hype of this debate.

Lots of people spouting about bad business models and piracy who do not have a single clue about signatory union contracts and responsibilities in an industry with not just one, but many, on most projects.  Some of these same individuals calling congress out as ignorant of their own expertise but don’t see their own ignorance on any of the distribution structures that go into creating a massively complex but commonly union signatory production.

We get crappy bills like SOPA and PIPA because extremes on both sides are loud and ignorant of half of what they are loud about… ..the other half.  They buy into Louis C.K. as an answer to how the studios are wrong…and they are… but not the way they all are arguing.  Louis C. K. ‘s project is not complex collaborative media on the level of most film and tv…with group creation… and with the struggle of an infrastructure that Louis C.K. likes to avoid acknowledging he has.  (The man is arguably the top buzzed/hyped comedian right now whose simple “concert” film will be supplemented by the marketing of his tours and sitcom etc. as well as the massive employed tribe he has working for & with him -from publicists to lawyers under the payroll of other initiatives).  There are so many issues that both sides choose to ignore.  Both sides are not helping anyone but themselves.

The mistake of the paradigm shift.. telling start-ups to focus and try and scale massively on a simplistic list user interface (all in the name of a safe risk and early reward of an exit for venture capital). A handful of start-ups found long term success at this… at the cost of the rest of the market and economy.

The biggest mistake embedded in this paradigm shift is hanging on to the idea that scaling from singular over-simplified basic list interface will be easier in the long run than going complex..with ease of flow, openness to multi-form interface and scaling slowly.  This was led by VC’s who were looking for single step up financial reward.  Many scaled services are now stuck in a bad list interface with bad revenue models (because they were built with a priority on investment moneys rather than customer moneys) as we are about to turn a cubic corner.

Traditional media has a leg up because they understand delivery of complex interface production.  As the laying in of retail and brands has to be in production..not delivery.  As the shift of power inherently shifts to placement as the first in/first out payment contracts by placement in actual production…during the actual reality of production..  & Those will be made by those building /producing/ designing, visual production/story architectures not simple list interface or curation.  The reward from curation alone …especially in a flat list interface will beeaten into significantly as the direct retail instigated by the right placement of cues in emotional, appetite and utility within story architecture will drive retail significantly more than a “two+ step away from purchase” ad placed near a list subject.

Another big misunderstanding of people who think traditional media would die because what they do is inherently easy.  It’s not.  Not even close.

A little like the mistake of Boxee.  An idea that was created without an understanding of a very clear future that it would become redundant.  As heroic of an attempt as it may have been.

Without content creation or a hand in higher level story architecture skills… all platforms will fall to the people actually building the stories and flow.

Hyv and Tu-Is

Hypervideo must be layerable, transportable, interoperable and scrollable for many, many reasons.

Heroes and Humans… with my bowl of cereal. Just some thoughts.

 

Anyone who thinks that the Saturday morning cartoons that 40 year olds watched as children didn’t mean anything, didn’t teach us anything… need to go back and watch the Superfriends, Schoolhouse Rock and the Babapapas. There was deep ethos in many of that silly, fluffy entertainment. A time between the violent slapstick of BugsBunny & Roadrunner (still love tho)..and the mind numbing of some games that don’t teach anything of good and bad… but physio-articulation and math.

Tasty with value is not a fairy tale in fiction, or cartoons… ..it’s just an endangered and rare species.

Sad days… No one is right in the Congressional battle over SOPA & PIPA (2 Bad Bills perhaps/IMO but now congress is forced into doing something)

No offense to anyone but for 5-7 years I have talked to VCs, web dev execs, large organizations who were building things on the backs of content other people created,.. explaining what they needed to do from the perspective of someone who understood the medium on both studio and independent level.. ..and I was largely ignored (or called crazy) despite my resume and unique background, because they looked down on any knowhow that was not technical as a knowhow that could not matter more than they.. That the future of how the Internet should work was all in technical knowhow.

A few have stepped up and listened and since stuck by me… When they realized beyond all the detail confusion realized they did need to understand all sides of this much better than they did.

The showdown on IP laws (which as much as I fight the large evil corporate studio), protected the US’s (and other countries) 2nd largest export which had a lot to do with our democratic ideals leading and spreading, leads us into much of the ideas on innovation, and gets much credit for leading us out of the depression and giving us the lifestyle we are lucky enough to have. This showdown …in Congress could have been avoided. Still could.

The .hyv layering or any browser layering will remove many of the conflicts. Again more reasons why this specific focus / road of popcorn.js just keeps leading us down the wrong road. Why I often get annoyed by web development people who don’t understand the purpose and histories of mass& interpersonal communication architectures and industries in both public and private venues.

10 years ago I left NBC, studios etc.. To recreate a more open industry and market, 7 years ago as I was putting my life where my mouth is ..I started fighting for an open technical infrastructure. Putting my life where my mouth was…yet they still ignored that they may not understand industries that they were actually dependent on as much as vice-versa. Of course with the incursion of video media which is highly complex in production… That is going to get even tougher.

I wish all parties would listen. There is a way. Yet both sides arrogantly say the other is wrong. Well, I will say arrogantly to both… They both are.

Goodbye browser… hello Sherpa.

Yes the next bridge we are about to cross are personalized hybrid cloud/search agent/organizer “sherpas”..Siri will be the “Eve” of them.  They will live in your home hub AND in the cloud.  I am looking at concept as we attach virtual sherpas and structure to storycubes.  The challenge arose today as we were discussing multiple interface in the same location during an event or film/tv with interactive.  After I left all the arguments I realized this is half of the issue.  Tweekie is but a year away is my guess.

The store, the mall, the land or the franchise. Analogies

Here is the analogous questions.. ..our own store? build and rent the mall space? or own the land,the mall and the store?..then franchise? Or build an association? Definitely building the association but these are the questions of the day.

When the director/actor tells you the 2″ tree branch that he can get his hands around will hold as he attempts to do a 3/4 giant off of it as if it were a highbar in college… and you think he is wrong. ..let him. He will learn a painful lesson.

Hirsch sent me this shot this morning (before the accident filming)…from the hypervideo mapping “the c.a.m.p.” …with the note “Can we mark a big `L` on his head in the hypervideo?’”. Me- “sure” Lovely shot (FYI character is drunk in this scene)

Netflix is crashing for the same reason anyone who is not building long form, genuinely-wide, ethos/pathos/logos-driven content creation, yet built a model for a platform to deliver it, will too.

Netflix is crashing for the same reason anyone who is not building long form, genuinely-wide, ethos/pathos/logos-driven content creation, yet built a model for a platform to deliver it, will too. Complex, interactive, multi-platform retail integrated content creation that is good enough to entertain masses amount of people, at a quality that is in par with network and television programming …is king. Studio signatories are chained to their scale and signatory agreements.  This new medium also has to be long form enough to carry the retail integration in a sufficient layback.

Get on the train or get out of our way.

… Making all of this.. which needs the expertise of independent long form production systems and budgeting…(studio knowledge alone is far too scaled and stuck in high $$$ to back down enough on budgets to take the risk yet)… a near impossible needle to thread and keep the quality of ethos, pathos, logos and commonality that you would need. Easier to teach indie filmmakers who understand all the elements of the layback and production processes how to handle integrated retail and stronger story development… than it is to make what presently is considered ground breaking on the internet actually successful in the wider tv and film market.

Content architecture is the real estate by which all advertising and integrated retail will exist. It’s design of ethos, pathos, and logos… (The emotion, appetite and utility of purchasing… The only reasons anyone purchases anything) matter more than a 10,ooo eyeballs…when dealing with “purchase”.

Again, that is a contract that has to come in prep… a “first in/first out” contract which has the power to step to the front of the payout line… and a safer bet.  And anyone who thinks attaching gimmicks (random additional platforms that were not in the inception of the story) to the outside of a story to widen the audience without a core quality structure that those are born with/extend out of organically… has a long way to go.  Anyone who thinks building a story around a brand will cut off 2/3 of a market and may damage a brand if the content seems like a giant commercial.  There is a way for brands to help build content with storytellers.  …but that is for us to keep secret. ; )