Simon Whiteley(I)
- Production Designer
- Art Director
- Visual Effects
The Matrix code 25th anniversary. Neo has had sufficient sushi, time to save more than just humanity. Deja Vu the code is in flux. The Eirys Coeden is active - linked to Mimlacode, Beatrix Potter code and indigenous codes across the globe. It began with Japanese cookbooks and sushi but something else lies hidden deep within the White/Green heart of the Matrix code and it is time to unlock the door.
Shooting stars of Katakana with trails of P1 phosphor green cross the screen. Matching traditional Japanese calligraphy they become falling stars. Slowed they resemble tears of White rain [Eirys] creating a melancholy forest of Green [Coeden] where Mriga and her starry friends dwell. Long before stone circles there were glades in ancient forests called ley's, the sun delivered the time of day, the stars the night and the surrounding ring of trees the changing seasons. The tears of rain are White trunks of Beithe, the first of thirteen different species of trees surrounding each ley, with their own code and calendar. Frequented by Creatures long before the Longlegs arrived, these ley's were connected to others by ley or song lines.
When the primates came down from the trees they congregated in these glades. Standing on two legs freed up their hands to use tools. Harnessing fire, cooking food and consuming fungi altered their mental constitution. Fire's warmth and safety replaced their own internal heat source and they relinquished their coats for those of other species. They conversed, drew and laid down new codes, forsaking the creatures code. The living ring of trees was replaced with poles, then more permanent stone circles. The forests were cleared and burnt, the sea levels rose and Longlegs began to work with metal. Eventually harnessing electricity and replacing their imagination and creativity with AI and an external web. They had forgotten how to live and be in tune with their environment, now distracted and resigned to observing it.
The little bird with musical bow, rises Red with dawns Orange/Yellow golden locks, following the white rabbit's foxfire moon and stars to Achernar's Indigo/Blue - Well Spring to the Violet river in the Sky. The stars and planets bring rain, life and colour to the Eirys Coeden - guardians of the creature's mimlacode of ethics and mirror to the human's digital matrixcode. Humans and creatures must work together if we are to save this rainbow coloured planet we call home.
A childhood spent barefoot and free between the UK and the wilds of central Africa, where I first encountered the Eirys Coeden and Mimla.
Born in 1962, Lancashire, UK. A Production Designer, Art Director, Visual Effects Supervisor, Writer, Screen Writer. And designer of The Matrix code. My family's name is imprinted in the digital rain for a reason, which dates back beyond Arthurian Legend.
I completed my BA (Hons) in Design and Visual Communication in Birmingham, UK where I studied art, story and longevity in civilisations and began writing about the Eirys Coeden. My career began at the BBC, Pebble Mill, Birmingham 1984, before moving to BBC, Shepherds Bush, London with the introduction of Quantel's Paintbox in 1985. In 1986 I joined BPCC Video Graphics pioneering Quantel's XL Graphic Paintbox (the forerunner to Photoshop) freelanced for the newly emerging Framestore before heading to Sydney, Australia in 1987 to work for The Video Paint Brush Company. Precursor to Animal Logic which I joined in 1991 working on commercials then movies for over thirty years. Most of which have had some environmental grounding - The Babe movies, Happy Feet, the Guardians of Ga'Hoole Owl movie, the Peter Rabbit movies, even The Lego movies and The Matrix movies are trying to get humans to open their eyes and work together with the world around them.
1984 Birth of the code. 1999 Temet Noscoe. 2016 the Grail was green lit. 2024 25th anniversary & Matrix 5 is loading. Neo knows the Matrix code was designed and created for a specific purpose - to trigger an emotional response. Compassion and empathy for the world around us and to save humanity from itself.
I was conceived in the same county as early 1900's Hill Top. And like many children grew up with Beatrix Potter and the world of Peter Rabbit and friends. But few people know Beatrix began writing a coded journal when she was fifteen and stopped writing at the age of thirty. In it she hid her innermost thoughts about art and literature, science and nature, politics and society, and her own hopes and frustrations. It took Leslie Linder 13 years to decode it. In 1966 more than 20 years after she passed they were published by Fredrick Warne Ltd. as The Journal of Beatrix Potter 1881-1897.
When she died she gave her entire estate over to the National Trust for humanity to enjoy. The Eirys Coeden and creatures mimlacode, which is initially a lot easier to break, gets more complex with each series of tales, and continues her legacy of giving back. Spanning all continents it follows the offspring of some of her most cherished characters, as they fight to save what we humans neglect in our fast paced, digitally enhanced and controlled world. All First Nation stories weave us into our environment, we should be part of its code. There is more to this world if we just slow down, wait and listen.
I now spend my days with the mimlafoundation, between the Golden Valley sanctuary and the city. The fox, hedgehog, little bird and all our friends visiting my waking life and my dreams. Delivering you the mimlacode, raw and free as is their directive, without the assistance of AI. Offering up an alternative - a little ray of hope to this wonderful world we call home. Cup and key to set you free, ring of stone to bring you home. The Oracle, Keymaker and Gatekeeper's are active and have the rainbow scabbard - the Eirys Coeden in all of us. From its light into darkness we are born.
Follow us at mimlacode / Eirys Coeden
Shooting stars of Katakana with trails of P1 phosphor green cross the screen. Matching traditional Japanese calligraphy they become falling stars. Slowed they resemble tears of White rain [Eirys] creating a melancholy forest of Green [Coeden] where Mriga and her starry friends dwell. Long before stone circles there were glades in ancient forests called ley's, the sun delivered the time of day, the stars the night and the surrounding ring of trees the changing seasons. The tears of rain are White trunks of Beithe, the first of thirteen different species of trees surrounding each ley, with their own code and calendar. Frequented by Creatures long before the Longlegs arrived, these ley's were connected to others by ley or song lines.
When the primates came down from the trees they congregated in these glades. Standing on two legs freed up their hands to use tools. Harnessing fire, cooking food and consuming fungi altered their mental constitution. Fire's warmth and safety replaced their own internal heat source and they relinquished their coats for those of other species. They conversed, drew and laid down new codes, forsaking the creatures code. The living ring of trees was replaced with poles, then more permanent stone circles. The forests were cleared and burnt, the sea levels rose and Longlegs began to work with metal. Eventually harnessing electricity and replacing their imagination and creativity with AI and an external web. They had forgotten how to live and be in tune with their environment, now distracted and resigned to observing it.
The little bird with musical bow, rises Red with dawns Orange/Yellow golden locks, following the white rabbit's foxfire moon and stars to Achernar's Indigo/Blue - Well Spring to the Violet river in the Sky. The stars and planets bring rain, life and colour to the Eirys Coeden - guardians of the creature's mimlacode of ethics and mirror to the human's digital matrixcode. Humans and creatures must work together if we are to save this rainbow coloured planet we call home.
A childhood spent barefoot and free between the UK and the wilds of central Africa, where I first encountered the Eirys Coeden and Mimla.
Born in 1962, Lancashire, UK. A Production Designer, Art Director, Visual Effects Supervisor, Writer, Screen Writer. And designer of The Matrix code. My family's name is imprinted in the digital rain for a reason, which dates back beyond Arthurian Legend.
I completed my BA (Hons) in Design and Visual Communication in Birmingham, UK where I studied art, story and longevity in civilisations and began writing about the Eirys Coeden. My career began at the BBC, Pebble Mill, Birmingham 1984, before moving to BBC, Shepherds Bush, London with the introduction of Quantel's Paintbox in 1985. In 1986 I joined BPCC Video Graphics pioneering Quantel's XL Graphic Paintbox (the forerunner to Photoshop) freelanced for the newly emerging Framestore before heading to Sydney, Australia in 1987 to work for The Video Paint Brush Company. Precursor to Animal Logic which I joined in 1991 working on commercials then movies for over thirty years. Most of which have had some environmental grounding - The Babe movies, Happy Feet, the Guardians of Ga'Hoole Owl movie, the Peter Rabbit movies, even The Lego movies and The Matrix movies are trying to get humans to open their eyes and work together with the world around them.
1984 Birth of the code. 1999 Temet Noscoe. 2016 the Grail was green lit. 2024 25th anniversary & Matrix 5 is loading. Neo knows the Matrix code was designed and created for a specific purpose - to trigger an emotional response. Compassion and empathy for the world around us and to save humanity from itself.
I was conceived in the same county as early 1900's Hill Top. And like many children grew up with Beatrix Potter and the world of Peter Rabbit and friends. But few people know Beatrix began writing a coded journal when she was fifteen and stopped writing at the age of thirty. In it she hid her innermost thoughts about art and literature, science and nature, politics and society, and her own hopes and frustrations. It took Leslie Linder 13 years to decode it. In 1966 more than 20 years after she passed they were published by Fredrick Warne Ltd. as The Journal of Beatrix Potter 1881-1897.
When she died she gave her entire estate over to the National Trust for humanity to enjoy. The Eirys Coeden and creatures mimlacode, which is initially a lot easier to break, gets more complex with each series of tales, and continues her legacy of giving back. Spanning all continents it follows the offspring of some of her most cherished characters, as they fight to save what we humans neglect in our fast paced, digitally enhanced and controlled world. All First Nation stories weave us into our environment, we should be part of its code. There is more to this world if we just slow down, wait and listen.
I now spend my days with the mimlafoundation, between the Golden Valley sanctuary and the city. The fox, hedgehog, little bird and all our friends visiting my waking life and my dreams. Delivering you the mimlacode, raw and free as is their directive, without the assistance of AI. Offering up an alternative - a little ray of hope to this wonderful world we call home. Cup and key to set you free, ring of stone to bring you home. The Oracle, Keymaker and Gatekeeper's are active and have the rainbow scabbard - the Eirys Coeden in all of us. From its light into darkness we are born.
Follow us at mimlacode / Eirys Coeden
