"ELASTIC SYSTEM" web application
All films are distributed through LUX distribution London or the British Council unless otherwise stated
This work was part of an AHRC funded research project called “The Internet of Cultural Things”, a partnership with Dr Mark Cote (KCL) and Professor Jussi Parikka (WSA) with wide representation from the British Library including Jamie Andrews, Dr Aquiles Alencar Brayner and Dr David Waldock. The aim was to use digital data and the creative arts to transform the way people and public institutions interact.
|"HOW TO TALK TO IMAGES"
A2 poster, 2008
This was a poster I produced for a show I did at the HTTP Gallery in London. It featured "The Mimeticon" and "The Internet Speaks" as two very different examples of artworks that search the same database of random internet images. The poster talks about how having access to vast quantities of imagery has changed the way we see and the back features an essay illustrated by the entire history of the Western alphabet, as an example of the evolution of visual language.
You can download the poster from the links above. Or contact me for a print.
|"10,000 COPYRIGHTED IMAGES"
Crime at the limits of human perception
Digital animation, 6:56 mins, digtal video, 2007.
A spin off from my previous search engine projects consisting solely of random images collected from the internet and displayed one per frame. An exercise in maximum velocity copyright infringement.
Download the press release for "10,000 Copyrighted Images" here (.pdf 12K)
For distribution enquiries contact me: richard at futurenatural dot net
- exhibition version
|"PROGRAMMING WITH A PAINTBRUSH
(HELLO WORLD VOL1)"
A multimedia essay on the impact of computer software on artists moving image
Interactive CD-ROM, 2002.
This was based on an essay I wrote about postproduction software in 1999 (see below). A few years later I sent it to the School of Design, University of Western Sydney and they commissioned this version for their research programme. Full of images and video documentation to illustrate the points, but I think I preferred the original essay. Funded by UWS and the Arts and Humanities Research Board, UK.
Download the original essay here, 1999 (.doc 230K)
(Originally published in Filmwaves no. 12, Autumn 2000)
For CD distribution enquiries: contact me: richard at futurenatural dot net
Nominated for the Videokunstpreis, International Award for Video Art, SWR and ZKM, 1998.
A conceptual music video about our transition from the enterprise culture of the eighties
to the lottery culture of the nineties.
Live action and digital animation, 7:53 mins, Beta SP, 1998.
A wildly ambitious film trying to capture the mood of a particular period. Could have done with better editing but still gets screenings. Commissioned by the "animate!" scheme. Funded by Arts Council England and Channel 4 TV.
Download the press release here (.doc 34K)
Download review of 'LMX Spiral' by Steven Beard (i-D magazine #180, Oct 1998) (.jpg 214K)
|"PLAY TO WIN"
Career burnout is the only reward for a society of desperately competing individuals in this psychomania of constriction, repression, desire and conflict.
Digital and hand animation, 2:46 mins, Beta SP, 1997.
This was the second collaboration with animator Martyn Pick. "Play to Win" was originally made as an interactive TV programme commissioned by the LFVDA (now Film London) and Videotron TV Interactive (now Cable and Wireless).
Download the press release here (.doc 26K)
Based on a blend of traditional animation and computer graphics, the piece features a series of vigorous graffiti style figures struggling with a computer generated mesh or cage.
Digital and hand animation, 1:32 mins, Beta SP, 1996.
This piece was the first collaboration I did with the 'traditional' hand animator Martyn Pick after we met at the much missed "Hub Club". "GridLock" was originally made as an interactive animation commissioned by the "Emotional Computing" scheme, Arts Council England.
Download the original press release here (.doc 22K)
Download the interactive animation here: (Windows) (Mac)
A historical allegory about Louis XIV and the technology of leisure. Using a computer animated Baroque aesthetic, "Heliocentrum" is a cross between a political documentary and a Seventeenth Century rave video.
Digital animation, 11:15 mins, Beta SP, 1995.
This film was the last collaboration with Jason White before we went our separate ways (although we did some work on the 'Z-Splicer'). It was also the first commission from the "animate!" scheme, funded by Arts Council England and Channel 4 TV.
Download the original Press Release here (.doc 30K)
Download review of 'Heliocentrum' by Hari Kunzru (WIRED magazine, July 1997) (.doc 38K)
Download review of 'Heliocentrum' by Steve Beard (i-D magazine #165, June 1997) (.jpg 285K)
A 'cyber punk' animation exploring the new landscape of machine 'life' as it tries to escape becoming a mirror to human life.
Computer animation, 3:20 mins, U-matic SP, 1991.
This was the first project that Jason White and I worked on. We started it while we were on the MA at the National Centre for Computer Aided Art and Design at Middlesex University and didn't finish it until 3 years later. This was mainly because we had to write all the software ourselves and run it on old VAX mainframes. For this reason I still refer to it as 'computer animation' instead of the more hip 'digital animation' (and even though we were already using treated live action).
|"STUDIES IN RHYTHM"
A generative animation based on the sine wave synthesis that models water patterns.
Computer animation, 1:40 mins, U-matic, 1987.
This was an animation I did during my year as Artist in Residence at National Centre for Computer Aided Art and Design at Middlesex University (what a mouthfull). This was the last rigorously 'non representational' work I did before I got bored with all that and moved back to figuration. Nowadays they call it 'ambient video'...
A generative animation based on the interative transformation of cellular elements.
Computer animation, 1:20 mins, U-matic, 1986.
This is it - my first ever film, produced for my BA graduation from Winchester School of Art. WSA was very much a painters' college and no one had any idea of what I was up to. I spent most of my time at the nearby IBM Scientifc Research Centre where this was made. This was the first computer program I wrote as I tried to explore whether it was possible to mathematically automate the generation of images and effectively replace the whole of ones visual imagination. Not too ambitious to start with then...