Date: 2012 Posted by:James R. Ford Cast: Not given Credits: Produced by James R. Ford Duration: 1.30
A few months ago it was reported that US programmer Jesse Anderson had set up a virtual set of some millions of monkeys (using Hadoop), all of them tying at random on virtual typewriters, and had managed produce something that was 99.99% Shakespeare – the first text to be achieved in this way being ‘A Lover’s Complaint’. Anderson had cut corners however, because every time the random typing came up with words that roughly matched something from the Shakespeare canon then they would be retained, if not then discarded. With this and other constraints, Anderson could achieve his goal. The purely random production of Shakespeare by an infinite number of monkeys remains something for the philosophers and theoretical mathematicians.
Or for a videomaker. This droll piece, made by British artist James R. Ford, is an extract from a 9 minutes 8 second loop (therefore designed in principle to run forever). It shows us a woman in a monkey suit, typing Shakespeare, as the tags to the video tell us, because otherwise we would not know (a photograph of the typewriter on the artist’s website indicates that only gibberish has been produced – so far). Is is a Shakespeare video? I say that it is – and so it is (and just to make the point this post has been tagged with all of the plays and poems). A video to watch, infinitely.
Jesse Anderson explains more about his project on this video:
Date: 2007 Posted by:lostfoxx Credits: Created by lostfoxx Cast: Dominic Kelly (Posthumus) Duration: 4.12
This is a particularly strong Shakespeare video. Actor Dominic Kelly has produced this rendition of Posthumus’ bitter speech, “Is there no way for men to be but women / Must be half-workers? We are all bastards” from Cymbeline (Act 2 Scene 5) as a showcase for his talents, but he has made a proper film of it. Kelly/Posthumus is cycling through London streets, addressing the camera, which cuts between speech, shots of the bicycle and shots of the street (strictly speaking, when Posthumus speaks he is pushing his bicycle; when pedalling he is silent). The speech is therefore broken up by the mundanity of the urban scene, while the speech comes out as ragged mental notes that occur to Posthumus as he proceeds, an effect accentuated by close shots taken either side of him, and his repetition of the vices in man that woman causes: ambitions, covetings, change of prides, disdain, nice longing, slanders, mutability – as though he were arguing with himself.
As much care has gone into the creativity of the filming as the performance (which is good enough in itself). The actor works with the camera, which frames and ironically counterparts the character’s thoughts. The editing is sharp (with just a touch of the jump-cut Godard of A bout de souffle), and the city itself provides the background ‘music’. A fine piece of work.