Tea Uglow may have the most important job in the creative industries: to discover the tools of the future designer. “I play with technology not to create new forms of creativity but to augment and influence traditional forms of creativity,” explains Tea, creative director of Google’s Creative Lab in Sydney.
.. To ‘record’ the experiences of the dynamic web is like taking photos of morning dew: fragmentary and one-dimensional, unsatisfactory. The future internet, consisting of machine intelligence communicating with speech rather than all these helpful words on ‘pages’, is even tougher to pin down. Every single web experience is literally performative — a machine pirouetting through a dance of information that is unique to you in that moment and then lost forever.
An experiment by Google Creative Lab Sydney’s Tea Uglow
Books you have finished reading may be passed on to your offspring or taken to a used book store, but with electronic books, their ownership is rather uncertain to begin with. This is because the reader merely purchases a license. Books from “Editions at Play” launched by Google this spring are part of a project that uses the distributed database Blockchain, which is the core technology behind Bitcoin. Its developer, Tea Uglow of Google Sydney, questions the future of electronic books through her experiment.
[10 min interview from Feb 2017] Kojo Baffoe is joined by Creative Director of Google, Tea Uglow. She is the brains behind Google’s innovative Lab in Sydney, Australia. Her works varies between non-linear narration and the physical web.
In honor of Women’s History Month, we’re celebrating the powerful, dynamic and creative women of Google. Like generations before them, these women break down barriers and defy expectations at work and in their communities. Over the course of the month, we’ll help you get to know a few of these Google women, and share a bit about who they are and why they inspire us.
In our second installment of the “She Word” series, we hear from Tea Uglow, a creative director in Sydney, Australia who is known for her love of coffee (but not tea), and for grabbing a “quick flat white and a chat.”
The very very wonderful Tea Uglow leads part of Google’s Creative Labspecialising in work with cultural organisations, artists and producers, experimenting with digital technology at the boundaries of traditional cultural practice – across theatre, literature, history, cinema, music, science and the circus.
It might sound like something torn from the pages of Virginia Woolf’s Orlando, but the quote above comes from Tea Uglow, the Google creative director and tech celebrity, who is sitting on the sofa at Semi Permanent’s offices in Sydney on a sunny autumn afternoon.
Why are we so obsessed with how children play? ‘Child-led play’ has moved from being the natural default to a new metric in our parental optimisation schedule. How well is the city adapted to these needs?
AS THE creative director for Google’s Creative Lab in Sydney, Tom Uglow has a job many of us dream of, but what really goes on behind the colourful doors of one of the most innovative companies in the world?
Here, he shares what he has learned with The Collective magazine. I THOUGHT THE INTERNET WAS AWFUL.
What we see today as being huge and difficult and complex simply won’t be huge and complex for the next generation. Take phones for example. They seem so ubiquitous, yet smartphones are good at distribution of information because of convenience, not design. In itself a phone does improve on what other ’things’ used to do. Before the phone came the personal computer, and before the PC, surfing the net meant mainframes. Before that we had books, cameras, maps, newspaper - the phone has aggregated all of these in digital forms mainly because it is the easiest 'device' to connect to the internet. Perhaps we should have seen that coming?
Head of Google’s Creative Labs in Asia, Tea Uglow, is about as far at the cutting edge of emerging technology, art and design as it’s possible to be. This year literature and books in all their forms are the focus of his attention. We asked Tom to tell us why and what he sees the future of reading and writing to be.
I wanted to write an essay about books: physical, electronic and the new kinds of digital books. It is a subject that preoccupies me. This is about the other "future of literature", not the industry, but the form: why we love literature, and what literature might become, in a digital world.
In 2014 I wrote an open letter because I think banner ads are billboards in disguise and that we've poisoned the well of digital advertising by insisting that we use them as direct response units rather than beautiful, ambiguous, brand moments...
Ahead of the Remix conference in May 2014 - Mitch Parker at VICE wrote up a really interesting hour that we spent discussing the Lab in Sydney. He managed to distill an insightful essence of what my team does and how we self-organise down here in Sydney. It's pretty useful to have your own rhetoric read back to you sometimes.
Adrian & Siobhan have posted an interview I did with Siobhan as part of their terrific Out the Front podcast series. A meandering and occasionally mumbly podcast on creativity and culture and why I choose to work on the other side of the world from all the important people.
I wrote an essay for Aeon Magazine about art, literature, theatre, dance and digital at the core of the creative process. It's sort of about the structural problems facing algorithmic and generative art forms.
Great storytellers have always experimented with new formats, from Homer to Orson Welles to James Cameron; from the birth of the soap opera to 3D cinema. The ambition behind the Royal Shakespeare Company’s Midsummer Night’s Dreaming is grounded in this history of experimentation—a chance to tell a classic story, by the world’s greatest ever storyteller, in an exciting new way.