|
|
 |
 |
 |
 |
 |
|
|
||||
| Lecturer, MA Communication Design, Central St Martins School of Art & Design, London 1990-2001 Senior Lecturer: (Fine Art, Media, Design) UWE Faculty of Art, Media and Design, Kennel Lodge Rd, Bristol 1996-2000 PhD research (pt/time): Interactive Film Art, RCA Film/TV school, Kensington Gore, London 1994-1995 MA European Interactive Multimedia, Royal College of Art. « LAB002: Twelve » published by Research Publishing in 1996 Published several papers or book chapters around the subject, taught numerous workshops internationally. Experimenting with the 'interactive movie' format as an artform, which is viewed either as an installation (touch screen cinema) for galleries, or on cdrom. The movies are live-action works conceived from a visual approach, scriptwriting is not involved in its traditional sense, and only stories and subjects inherently suitable to interactivity are chosen. Contribution: Why bother with interactive movies? If interactive movies based on narrative can be successfully made, why has the interactive movie not become a substantial genre, especially when other special formats such as IMAX have had worldwide success? Why does everybody ask me what IS an interactive movie? If the Hollywood-style movie can be made interactive then why isn't somebody rich already? The evidence suggests that, due to the much-discussed conflict between storytelling and interactivity, we are never going to satisfactorily transfer 'classic' film style into an interactive product. [..] Since 1995 the author has been obsessively creating non-commercial interactive works composed from 'live action' video, and exhibiting them as artworks on a touch-screen installation in galleries. Sometimes they experiment with narrative and sometimes with the visual form of the images themselves, comparable to the differing approaches of filmmakers such as Maya Deren and Stan Brakhage. Techniques employed include spatio-temporal linking (having to click in the right place at the right time), split-screening and use of screen space, a strong feeling of causality, and specific choices of subject genre. Although conceived as artworks, feedback obtained suggests that using these techniques can result in engaging and original works, which can be appreciated by a large audience if superficial resemblances to the form of cinema and television are retained. [..] |
 |
  |
 |
 |
 |
 |
