Journal paper published in Culture Machine
special issue on Drone Culture.
Dancing To The Tune:
The Drone as Political and Historical Assemblage.

T's World London Premiere in June.
Open City Documentary Festival
Wednesday, June 17, 2015 - 19:30
Venue: The Proud Archivist

Two awards for T's World
DOK Leipzig 2014

Winner - Honorable Mention
International Short Competition
Jury Statement:
The film absorbs countless influences
of the cruddiest contemporary media
and uses their qualities to create
a powerful, long and dirty poem.

Winner - Honorable Mention
Animadoc Competition
Jury Statement:
It’s quite rare, that you are so
unprepared as when watching T’s World.
It leaves you as confused
as its disturbed story merits.

Conference Paper
September 2014
Information Overload
University of Edinburgh

Glacis Screening
2014, Sat, Jun 07
Haus der Kulturen der Welt

Conference Paper
May 2014
As Above so Below
A colloquium on drone culture
University of Lincoln

Glacis Screening
2 Mars 2014 à 14h15
La Gaîté Lyrique
Color / HD / 30 min.

Over-identification: Taking the system more seriously than the system takes itself seriously

T's World unpacks events surrounding the 2011 animal release and subsequent suicide of Terry Thompson in Zanesville Ohio, USA. Over the course of 15 years Terry Thompson collected tigers, lions, bears, wolves, and other dangerous animals accumulating a menagerie of 60 or so creatures on his private ranch.The menagerie was not open to the public and was not visible from the road, therefore according to the laws at that time in Ohio, the law enforcement authorities had no right to inspect or otherwise cast an eye upon Mr.Thompson's private collection. Over the course of several years an adversarial relationship developed between Thompson and the local Police culminating in Thompson's arrest and imprisonment for one year and a day on weapons charges. When he returned from prisonTerryThompson found his animals in disarray and his personal life broken. On the evening of October 11 2011,Terry Thompson cut open the cages of his animals and made holes in the fences surrounding his 90 acre property. He laced his body with chicken parts and shot himself in the head.The sheriff was alerted to the animal release by a Woman who had seen a lion bounding near the highway.With two hours until nightfall, and without any means to control the animals the sheriff ordered his deputies to kill all of the animals.The subsequent hunt lasted for 24 hours.

Mobilising 300 pages of police reports and audio interviews taken a year after the 2011 events, the film unravels the implicit tensions between Thompson's legal rights and the security concerns of the authorities and neighbours. On one hand Thompson's accumulation of a large private collection of dangerous animals is in harmony with the promised American custom of accumulation, pioneering, and freedom from the intervention of state authority, yet on the other hand the law is not always congruent with the custom.What is permitted is not always allowed.

This problematic of the law versus the custom in the story ofTerryThompson casts a light on the contradictions inherent in the American promise of freedom and liberty opening up the shadows of fear and an obsessive desire for security amidst an imaginary of ultra violence and notions of red in the tooth human nature which justify and valorise a fanatical respect for accumulation even among those who do not benefit the from the capitalist accumulation project and its speculative promises.What is revealed in this film is the existence of a paradoxical regime of explicit and implicit rules of the game that often contradict each other.

The film is composed of filmed material shot in Zanesville Ohio while the content of the police reports are recreated using 3D imagery.The interviews and scenes are framed by a "theatrical" discourse that references Brecht's learning plays, in particular the work "He Said Yes / He Said No" with its concern with the idea of the custom.

In order to create the 3D images the idea of a paradoxical "game" was incorporated into the form of the film with the intention of a "performativity in form" that transcends the content of the film and forms part of the theoretical analysis and commentary of the project.

A game world was created using a computational platform for video game production.All the characters including humans, animals, vehicles, are scripted artificially intelligent "bots" that inhabit T's World, a digital recreation of Terry Thompson's property and areas of Zanesville Ohio.These automated "bots" are set loose in the world with only the rudimentary rules of the script to determine their behaviour.All of the imagery in the film is therefore pulled from screen captured video of the resulting movements and behaviours.

T’s World Credits

Film by Ramon Bloomberg

3d Artists

József Szimon
Balázs Őrley

Camera by Ramon Bloomberg
Edited by Stark Haze


Muskingum County Sheriff's Office:

Brandon Tvedt Ronald Tvedt Kimberly Tvedt Harmony Nicole Matt Arenas Carlos Vega Swift Sparks III Jacob Miller Rod Kammer

Around Town

Andy Roberts Don Pagath Tom Poorman Dana Matz Neil Patel Tom Strock Rich Duncan Shirag
Troy (at the starbucks)
Jack Hand and Brian the zombie Alyssa from Rite Aid
Dale Beachy

Special Thanks

Marie Bloomberg
Alex Casimir
Mary Kallaher
Kazz from the A team
Andrea Phillips
Zanesville Rifle Club
Weasel Boy Brewery
The Beachy Family
Britney Spears
Color / HD / 30min

The film explores the remnants of the French bourgeoisie, a world slowly but inexorably undermined by the forces of acceleration and globalised finance capitalism. dividing the sequences are still frames taken from the history of French aviation, the developments of which were a particularly bourgeois pastime of the 18th and 19th centuries enabled by family industrial infrastructure.

The notions of speed and acceleration associated both with flight and post industrial capital are contrasted to slowness and investment associated with bourgeois values and the old industrial elites.

Self professed Bourgeois are filmed in their family (secondary) homes performing role playing games that they themselves have chosen. These sequences are followed by “cinematic” sequences designed by the performers and produced by the film maker.

The French aviation threads that bookend the chapters are accompanied by a narrated voice and composed of a single frame image. That image degrades over time. The degradation of the image is a result of algorithmic scripting that obliterates the traditional notion of decay by performing in fast forward, 1,000 years of the opening and closing of a jpeg image until the image itself is degraded to the point of being unrecognisable. This process formally performs the undermining - by technologies - of the temporal weapon of tradition and manners mobilised in the project of bourgeois hegemony.

Glacis is an ancient military term that denotes a field of view unimpeded by obstacles where the enemy other is clearly visible, figured against the nothingness.
Color / HD / 10min

Reading emancipatory discourse on information technologies from Mckenzie Wark. With repetition the language begins to break down into sounds as a desperate attempt to circumvent this false utopia renders an infancy of semiotic soup. The structure emerges from the utopic discourse of Robert McKee's script guru seminars while the images themselves are hijacked from commercial film production, moments of ennui on the set of a yogurt advert. The notion that capitalism recuperates its own critique is turned around in a cannibalistic form of production that attempts to be slightly comedic.