OutofHours

Ophidian is a real time performance ‘conducted’ and spatialised by the composer in which both realistic flute like sounds and impossibly distorted flute sounds can be heard. This is done through a computer that reads a score comprising conventional notation combined with performance information. The computer then uses this information to play a virtual instrument made up of mathematical equations describing the vibrational behaviour and physical properties of a computer modelled flute. Together these can be linked to allow either the realistic re-creation of the sound of a flute, or the impossible distortion of the instrument properties in real time. The flute can change size, the holes can move, the mouthpiece can change size and the blowing behaviour of the virtual player can be modified.

Adam produces a short animation every year for the film festival circuit and this film from 2006 was shown in various festivals including the local Luton Filmstock in which he has premiered a new animation for the last 4 years. Myth #821 is set to sound by Calexico an alt country band based in Texas, Arizona, who are known for playing an eclectic variety of music, and gives us a taste of how man may have obtained fire. http://www.whasname.com / http://meanwhile.beds.ac.uk

In late 2006, Joanna was commissioned by HAPPEN, an arts organisation in Bedfordshire, to make a video exploring the role of arts in regeneration. Balancing the precarious alliance between institutional criticism, artistic product and commissioning processes, Callaghan’s approach reflects on the ideas, theory, policy and practice of regeneration and the arts that lead to such commissions. The result is a work that highlights the disconnect between the language of regeneration and the people and places that it is intended to effect. Made with the assistance of Adam Procter and Rob Munday. http://www.joannacallaghan.co.uk

In 'pornography/forest_pics', hardcore pornographic images that are set within or around forests are downloaded from the Internet. The human bodies are then digitally removed from the pornographic images. By erasing the bodies, another space previously obscured by the action is recovered. This space is constructed by repeating other sections of the photograph. When the action is removed, the photographs appear to depict a space where something has already taken place, as though the spaces were the sites of dreadful, if unnamed, events. The forest setting is at once a place of beauty and danger, of obscuring and clearing – a public as well as a private space. http://www.evastenram.co.uk

Working with cutting edge technology Maria will present parts of her animation motion capture works. Through her experimentation with motion capture she has created two award winning digital choreographies, “Vice Versa” (2000) & Dialogos” (2002) and multimedia performance “AtmoSphere” (2003).

“Vice Versa” (http://video.google.co.uk/videoplay?docid=2419687839392917172&hl=en-GB)

“Dialogos” (http://video.google.co.uk/videoplay?docid=-292791111634180939&hl=en-GB)

“AtmoSphere”: (http://video.google.co.uk/videoplay?docid=-1596988464282353113&hl=en-GB)

Poetry: concrete visual text accompanied recorded voice text. The two texts run their own separate courses whilst staying indissolubly in touch, borrowing from and parodying one another--the one playing visual and semantic games in miniature, whilst the other spools its 'cut-and-splice history poem.'

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Keith Jebb Madwiki page

Animated Computer-mediated Poetry: 'Slippage' is a playful exploration of the nature of meaning.'Homecoming' draws on the dialogic philosophy of Mikhail Bakhtin to explore the participative nature of beauty.

http://www.gavinstewart.net/cybertext/slippage/sliphome.htm

http://www.gavinstewart.net/homecoming/homehome.html