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“Noel Holmes wins Russian International Horror Film Festival”
“Noel Holmes wins Russian International Horror Film Festival”
Directed by Terry Trickett
As a piece of Visual Music, CITIRAMA combines moving visual imagery with musical performance on solo clarinet. The images conjured up in CITIRAMA take flight into a realm of fantasy, where the rhythms of music join the patterns of architecture to celebrate the qualities of an exceptional building – the Leadenhall Building known colloquially as the ‘cheesegrater’ – in the City of London. CITIRAMA is an experimental performance that reveals a new type of relationship between music and architecture – no longer frozen but, instead, constantly moving and inventive.
My activities in digital art have been influenced, in part, by my work as an architect and designer but, also, by my involvement, over many years, in an initiative that succeeded in bringing the disciplines of science and art closer together. With the Wellcome Trust, I invented and instigated a wide-ranging project (Sci-Art) in which scientists and artists, working in partnership, were encouraged to pool their ideas and, thereby, maximize each other’s creative potential. This project ran with considerable success for 10 years (1997 – 2006).
It’s this interest in the dual worlds of art and science that pervades my cross-disciplinary approach towards creating Visual Music. The method I adopt in harnessing together music and digital imagery was sparked off by a visit to the V&A’s Decode exhibition, in 2010, when I became aware of the opportunities offered by coding. At the exhibition, many works were built with Processing – an advanced program for creating movement – which led to me learning the techniques involved and then extending these skills into the realm of Visual Music.
The themes I select for my Visual Music presentations and performances, encapsulate a disparate set of interests and ideas that, more often than not, have been latent in my mind for quite some time. These ideas range far and wide, usually stemming from my past or current activities in music, art and science, design and architecture. Always, in creating a piece of Visual Music, my aim is to share and communicate my idea through a process which combines moving visual imagery with musical performance, usually on solo clarinet.
My Visual Music pieces have relevance at more than one level of interest and understanding; sometimes, they are primarily musical; at other times, my aim is to tackle a difficult subject or to put forward a controversial point-of-view.
Experimental 7.5 minutes consisting of a cast of thousands of talking heads in different languages and emotions (laughing, crying, arguing) merging abstractly into one universal head, evoking the fleeting oneness of humanity.
The experimental 16mm film/HDV short ‘The Box’ is a silent film featuring original music by Geena Matuson and works of John Cage. All double-exposure for this film was done in-camera.
Geena Matuson is The Girl Mirage, award-winning Multimedia Director and Digital Producer with a background in marketing and communications, writing, new media and traditional arts. A deep interest in semiotics and psychology, Geena’s personal work often evokes a sense of synaesthesia, and even a sense of humor.
Largely an auditory learner, sound and rhythm play a central role, and a focus on symbolism and dreams add to the experimental and often surreal nature carried throughout the body of her work, creating a holistic experience.
See more @ http://www.thegirlmirage.com.
“My work focuses on the concept of time, human psychology, and the dream state – reality versus surreality – and, through these ideas, a commentary on society and social structure.”
– Geena Matuson
Andy Sowerby is filmmaker and visual artist. Andy has a process driven practice, through an experimental and innovative approach to equipment and materials.
Andy’s practice often moves between both narrative, story driven work and abstract, expressive work. Subject matters range from abstract colour, light, macro worlds, distortions, visual metaphor, emotional response, personal relationships, and our relationship to art and images.
Graduate of Newport Film School UK, his films have been selected for a variety of film festivals including London Short Film Festival, Atlanta Film Festival, and BBC Music Video Festival.
Music video created, produced and filmed by Bonnie Carini of Hawaii Island Melody and Lyrics written by Bonnie Carini Melody sung by Sierra Spruce of Hawaii Island
Saxophone tracks: Villu Veski of Estonia
Vocals: Sierra Spruce of Hawaii Island sings the melody and Eivor Pallsdottir of the Faroe Islands vocalizes with sax and pilot whale sounds in the prelude.
Hawaiian chant of the refrain: Mahina Saunders
Hula: Melody Reyes
I am a published writer/photographer with a background in marine ecology and have focused mostly on pelagic animals, from plankton to sharks, dolphins and whales. My articles and photographs have appeared in magazines and books around the world. I am also a produced cinematographer and have sold footage to Animal Planet, National Geographic, BBC and Nature, to list a few. I directed and shot the underwater segment for the original NBC documentary, The Road to Ironman. I have had one of my screenplays optioned, Pilot Whale Fog, which was chosen as an official finalist in; The International Family Film Festival 2014, The Cannes Screenplay Contest 2015 and The New York Screenplay Contest 2016. My music video, A Song of Pilot Whale Fog, won the Silver Lei Award at the 2017 Honolulu Film Awards.
The allure of whales and dolphins is strong and for decades battles have ensued globally against their slaughter and captivity. I first became aware of the grindadrap (pilot whale slaughter) in the Faroe Islands over 3 decades ago and it remained in the back of my mind up until about a decade ago when I read an article by the Canadian activist, Paul Watson, entitled; The Ferocious Faroe Islands. I’ve spent much of my life in and around sea observing and filming marine life and am especially fond of the pilot whales. I found the article though, derogatory to the point of being ineffective to ending the grindadrap. In fact, the Faroese are incensed at Paul Watson’s audacity and continue to whale as they have been doing for over a thousand years. My Faroese experience has, so far, evolved into a short documentary, a music video and an award-winning screenplay where the grindadrap is at the heart of the main conflict in the story, but is portrayed and dealt with fairly and considerately through multiple perspectives. My
PILOT WHALE FOG film/music project is a celebration of the Faroese and Hawaiian culture, the natural beauty of both archipelagos, and the pilot whales.
PhD student at Harvard University in Critical Media Practice and Romance Literatures.
Originally conceived as a visual translation of a lyric poem by Patrizia Cavalli concerning chronic pain and disability, this video features an intimate and colourful performance incarnating an interpretation of the poem through the gesture of covering oneself with brightly coloured paint, evoking the intimate act of pain relieving self-massage as a way of making invisible disability visible.
Rather than merely displaying the performance for the viewer, whose role would be passive, almost voyeuristic, thereby limiting the exploitation of video as a medium to its infinite repeatability, the performance is fragmented across two screens that are then themselves recorded in video together, effectively reducing a two channel video installation to a single channel.
This is done with the goal of breaking any lingering illusion of realism that the moving image brings with it, requiring a more active role from the viewer as they are forced to look at, rather than look through, the screen, complicating an otherwise voyeuristic spectatorial experience, forcing the attention on the spectator themselves rather than the performer and, intermediately, on the screen itself.
Throughout the video, the sound of a screen unfurling evokes what would otherwise be (had the performance simply been presented documentaristically) a distant and discordant sensorial experience resulting from the act of projection.
My art practice has formed in conjunction with my scholarly research on emerging forms of literary expression and their relationship to moving image art. I’m most interested in the period from the moment the cinema entered the gallery in the 60s to the pre web 2.0 net.poetry of the 90s, and my research is increasingly focused on the screen itself as a site of projection, proliferation and mediation. This piece in particular is the result of combining these currents of thought with my goal to increase awareness of invisible disability.
“Igor & Viacheslav Pareniuk – Uneasiness “
Cinematographer originally from Ukraine, Kyiv. Have graduated from the Kyiv National I. K. Karpenko-Kary Theatre, Cinema and Television University, from which received a Master Degree majoring in «Film and Television Arts». At this moment stading at Aristotle University in the Faculty of Cinematography (Greece, Thessaloniki).
Available to download: https://seastacks.bandcamp.com/
Producer / Director / Editor: James Sampson
DoP: Dave Mackie Choreography: SALSAROSA (Stella Papi, Elisa Vassena)
Grader: Matthew Falconer
Dancers: Elisa Vassena & Rob Keates
Music by: SEA STACKS http://www.seastacks.co.uk
James is a Director and Editor of short films, music videos and promos based in Bristol, UK. His work has been screen internationally, combining stunning visuals with personal insights into the human condition.
Shane Beam is an animator/illustrator floating somewhere between Chicago and Virginia. He has a passion for unique forms of storytelling and unintelligible characters, drawing inspiration primarily from extended periods of time underwater.
CONDITIONER explores themes of nostalgia, self realization, and the futility of anxiety. This film recycles monologues I wrote with my friends in high school, scrambles them, realigns them into a story, and then scrambles them again into abstracted fragments.