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23 MARCH 2014

Bot & Dolly and the Rise of Creative Robots

"This is Bot & Dolly, a boutique design studio that specializes in combining massive mechanical arms with custom software for movies, architecture, digital fabrication, and entertainment installations. 'We're a culture of makers, of creators with open minds,' says Tobias Kinnebrew, Bot & Dolly's director for product strategy. 'We work on things that don't seem possible and try to make them possible.'

One of Bot & Dolly's first clients, Google (GOOG), bought into that vision quite literally. In 2012 it commissioned Bot & Dolly to create an attention–grabbing experience to promote its Nexus Q media–streaming device at the Google I/O conference. Bot & Dolly built an 8–foot–across, 300–pound Nexus Q mounted on a robot arm that passersby controlled via several Nexus gadgets working in tandem. ...

Bot & Dolly was started four years ago by Jeff Linnell and Randy Stowell, as a side project at their video production company, Autofuss. (The cafe at the front of their building, called Front, is the pair's latest joint endeavor.) Still operating independently with around 20 full–timers, Bot & Dolly is best known for bringing weightlessness to the big screen for last year's Oscar–winning film Gravity."

(David Pescovitz, 20 March 2014, Bloomberg Businessweek)

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TAGS

2012 • animation in real space • attention-grabbing experience • augmented spaceblack and whiteBloomberg Businessweek • Bot and Dolly • boutique design studio • boxcommissioncreatorscustom softwaredesign studio • entertainment installation • Google (GOOG)Google I/OGravity (2013) • Jeff Linnell • makers • mechanical arm • media-streaming device • Nexus Q • projection mapping • Randy Stowell • robot arm • robotic projectorsrobotic systemsrobotic technology • video production company • video projection worksvisual spectacle • weightlessness

CONTRIBUTOR

Simon Perkins
30 DECEMBER 2012

Tom Mortimer of 12foot6 on Animation

"Did you have a mentor when you were starting out?
I worked with some great illustrators when i started. We shared a building with the Central Illustration Agency and so met and listened to a few of them. Brian Grimwood, Simon Spilsbury, Robert Shadbolt, Geoff Grandfield. At the time illustration was being battered a bit because everything was going digital. But as we always say – good art will always find a way.

What's your process for writing a treatment?
We like to try new things whenever we can, so it's about getting the idea and pushing to see what we can do with it. And we like to get something drawn or made or modelled quite quickly. One piece of art will always inspire you to the next step we find.

Do you often collaborate in the early stages or do you work alone?
There are 20 of us at 12foot6 and we all do slightly different things, so everyone has to rely on everyone else – all we ever do is collaborate.

Pencil & Paper or iPad ?
it's a bit hard to send an email with a pencil and pen. But i know what you mean. We find there is a pretty simple rule in animation, in fact with any work I think – you get out what you put in. Put good art in and you stand a good chance of coming out with something you'll be happy with. Use whatever tools you like, as long as it works."

(Millie Ross, 13.07.2012, Jotta)

[The Animation/Illustration agency 12foot6 was started by Dave Anderson and Tom Mortimer. Their name was derived from their collective heights i.e. (6 foot 3) * 2]

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TAGS

12Foot62D animationads • adverts • animatinganimationanimation directorsanimatorsBAFTA • BAFTA nominated • Brian Grimwood • Central Illustration Agency • character builderscharacter design • CIA (design agency) • collaborationcreators • Dave Anderson • design agency • Dog Judo • Geoff Grandfield • going digital • illustrationillustrationsillustrators • in-house creations • iPad • Jetix Europe • Jottamaking things move • mentor • Millie Ross • moving artists • pencil and paper • Robert Shadbolt • Simon Spilsbury • The Sensibles • toolsetUKVirgin Media • writing a treatment • you get out what you put in

CONTRIBUTOR

Simon Perkins
25 MAY 2010

Preserving the Knowledge Commons

"when scholars use systems of reference to link one work to another, they establish and exercise underlying fabrics of trust. These fabrics serve to tie researchers to other researchers, teachers to students, and creators to users over time and place into durable and productive scholarly communities. The linked works represent the common pools of knowledge – the knowledge commons – over which members of these communities labor to produce new knowledge. And the links work, the trust endures, and the commons nourishes the intellectual life if and only if cited material is preserved so that, when a link is made, the reader is able to check the reference at the other end."

(Donald J. Waters)

[1] Waters, D. J. (2006). Preserving the Knowledge Commons. Understanding Knowledge as a Commons: From Theory to Practice, MIT Press.

TAGS

authorship • cited material • common pools of knowledge • copyrightcreatorsdiscursive field • fabrics of trust • footnoteinformation in contextintellectual lifeknowledge commonsLibrary of Congresslinks worknew knowledgereferencerepositoryresearcher • scholarly communities • Section 108 Study Group • systems of reference

CONTRIBUTOR

Simon Perkins
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