Tempered CINEMATIC

A cinematic piece that features bowed piano strings, timpani, bass drum, cymbals and double bass. A moody, evocative piece that evokes cinematic-orchestral pieces for dramatic scenes.

(Electronic music) beginnings (full length)

This is an optimistic, full length pop instrumental featuring piano, dub-step styled drums, synth bass, muted trumpet, Hollywood styled strings and vibraphone. The break is touched with the melancholy.

(Electronic music) homesick (elegant and energetic)

This is a bright composition featuring a sweet vibraphone arpeggio accompanied by, piano, bass, synth strings (including an early 1970s modelled synth), percussion and FX.

(Electronic music) through the past (moody)

(Short 02) An eighties styled ambient piece that uses synth strings modelled on the late seventies-early eighties synths. Evoking the aural objects of that era. Instruments used in this composition are synths only.

Amazing grace

Amazing Grace the famous hymn featuring a sampled bagpipes, piano, acoustic drums, synth pads and strings.

Ambient cinematic celeste (dreamy)

A short composition that is dreamy in style and features synth strings (modelled on 1970s ambient styled synths), celeste and percussion.

Ave (piano and vocal) DREAMY

This audio features vocals, piano, strings, synth and bells a curious and unique piece with a light feel.

Ave (with synth lead) DREAMY RELIGIOUS

Ave (with Synth Lead) is a short piece of music featuring vocals, synths, strings and bells.

Ave Maria

Ave Maria is the famous hymn and it features piano and 5 synths. I decided to use synth pads to create the evolving strings part and sounds of synth bells to add tone. The piano part makes this hymn distinctive.

Two-dimensional string notation for representing video sequences

Most current work on video indexing concentrates on queries which operate over high level semantic information which must be entirely composed and entered manually. We propose an indexing system which is based on spatial information about key objects in a scene. These key objects may be detected automatically, with manual supervision, and tracked through a sequence using one of a number of recently developed techniques. This representation is highly compact and allows rapid resolution of queries specified by iconic example. A number of systems have been produced which use 2D string notations to index digital image libraries. Just as 2D strings provide a compact and tractable indexing notation for digital pictures, a sequence of 2D strings might provide an index for a video or image sequence. To improve further upon this we reduce the representation to the 2D string pair representing the initial frame, and a sequence of edits to these strings. This takes advantage of the continuity between frames to further reduce the size of the notation. By representing video sequences using string edits, a notation has been developed which is compact, and allows querying on the spatial relationships of objects to be performed without rebuilding the majority of the scene. Calculating ranks of objects directly from the edit sequence allows matching with minimal calculation, thus greatly reducing search time. This paper presents the edit sequence notation and algorithms for evaluating queries over image sequences. A number of optimizations which represent a considerably saving in search time is demonstrated in the paper.

Understanding science

Understanding Science is about breakdown of meaning, breakdown of relationship, trying to exist in that space between meaninglessness and understanding, at its cusp, its node, its no-man's land.. It is a melting pot of more than just fragments of images, there are clusters of things, ideas, sounds, words, that swim in and out of your attention. I wanted this film to be a dense multidimensional collage of automatic writing, sound poetry and abstracting strings of images.

Program notes: Scratch Film Festival. UWA. Perth 1997

Dossier Chris Marker : the suffering image

Dossier Chris Marker: The Suffering Image is a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of French artist and filmmaker, Chris Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural. Consistent with the classical figure of concordia discors, these irreducible warring aspects of life experience are, in fact, resolved in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as “mask” or “screen” for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. A topological “knot,” or ontological “problem,” it is this very conflict that animates all of Marker’s extensive works – filmic and otherwise.