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Like caffeine, it is to this 1954 radio drama by Dylan Thomas, that I turn to whenever I feel my creative mojo flagging. When the words don’t come, I listen to this, emboldened always by the music of Thomas’s language and the rich meat of his imagery. When a character won’t materialise for me, I…
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Last Friday, I featured a bunch of digital speed paintings created in response to Darius Milhaud’s ballet, La création du monde (1923), which was the first stage in a creative process wherein an entire community of creatives were challenged to visualise Milhaud’s jazz-inspired ballet. The next stage was using the resulting imagery to create an…
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After the long, slow, sleepy life-cycles of the Kick-About#8’s cicadas, I felt we needed a bit of clatter, percussion and forward velocity in the mix. I knew just the thing, unleashing John Adams fast machine and setting it rocketing off into the bloggosphere. You can see the full range of work Adams’ music inspired here…
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In marked contrast to our last creative prompt, which encouraged us to reflect on the slow, attenuated life-cycles of the cicada, this week’s jumping-off point invites adventures in velocity. As per, the range of responses is a delight. My advice? Slow down and have a really good look.
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The film series Getting Lost In Fields began as a response to this Kick-About prompt, in which I challenged myself to use my numerous photographs of local fields, pastures and scrubland as the basis for some moving image work. Really, I wanted to seek to share my feelings about these landscapes, what it was like…
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Back in March 2013, I was tasked with conceiving of a way in which an entire community of animation students, staff and alumni could work together on a big external EU-funded project, the goal of which was to visualise classical music engagingly and thus initiate new audiences into the concert-going experience.
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Between 2013 and 2019, I was involved in a series of ambitious European-funded creative projects centred around the visualisation of sound, and specifically the visualisation of classical music. During this time, I was fortunate enough to work with many very talented people, a number of whom I continue to work with on new projects today…
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David H. Keller’s 1932 short story, The Thing In The Cellar, is one of my favourite things. Here’s why.
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I didn’t know this 1964 short film directed by Gene R Kearney, or the 1934 short story written by Conrad Aiken, from which it is adapted. I feel like I should have known it – or rather, I feel I have always known this story, just not in this specific form.
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A final visit to the soft gilded bristles of Knave’s Ash, with its bronze skeins and glinting copper.
Red's Kingdom 