Adrien wants us to know about Lars Von Trier. Maybe not the film-maker, specifically, but he wants us to be active in finding out what we don’t know. The studio should be an active place.

Another thing we should know about: facets.

Here’s something else we’re interested in: nonfiction. We can make a nonfiction ‘thing’ about a fiction ‘thing’, because there are truths and certainties in fiction. Adrien’s unicorn example was an excellent illustration of this idea: “Do Unicorns have horns? Yes. Are Unicorns real? No.” Things needn’t be phenomenally present to exist in our world.

Nonfiction, in this space, is a way to ‘address the world creatively’. I like this a lot. Adrian uses Vine like Instagram. He said he’s interested in “ways of making media” without the industrial “stuff”. I really like this too.  Adrian also opened a programme called TinderbocSix, which I think would be interesting to play in.

Here’s another good idea: “the structure emerges during the making”. This prospect is appealing, but it stands in total opposition to how we’ve learnt to make things. Consider the prompt that defined high-school: “write an essay”. This instruction shapes the thing you’re making before you’ve actually made anything at all. It’s really limiting. And boring. Aren’t we sick of form preceding content?

Now we’re asking questions about our next focus: 100 concerns. Some technical notes on Vine, Flicker. The videos can be any length, really. We’ve decided to constrain our making, in some way. When giving examples, Adrian suggests that Monique’s dog project focus not only 100 different dogs, but 100 different labradors, or 100 different parts of the dog. This makes it more of a study, more thought provoking. It’s a contemporary bestiary. I’m getting some good ideas now.

Another nice thought about these new lists: they’re almost prayers. or incantations. We’ve ended on almost everyone understanding what they’re going to do. I really see that a lot of the making happens here: in the studio.

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