The Duellists (1997)

The Duellists (1997)

An experimental animation made at uni in 1997. To animate, my portable 14″ TV was placed face up on the carpet while I positioned myself over the TV with pen and paper. An animator’s peg bar was cello taped to one side of the screen to ensure that the paper would always be placed in exactly the same position. I drew about 3 frames every second. As you can see, it’s VERY jerky! I can still vividly remember the laborious process of clicking the VHS frame counter every time I drew a frame. By the end of the week the VHS player was seriously damaged and the tape was just one big glitch. At the time, I never contemplated making the sequel for sanity reasons! All in all, it took around 700 drawings before being shot under an old EOS stop-frame camera. The sound score is mainly Morricone, though I used soundbites from other well-known films. Looking back at this animation 20 years on, the work employs the same principles as DIY punk ethics. Basically, a heap of shoddy charcoal drawings awkwardly mashed together. The result being a confusing manic montage. After editing the rotoscoped version, it was whittled down to 2:32 seconds in duration.

Jason murray


Heat, Light and Shadow (2014)

Heat, Light & Shadow (2014)

‘Sampled from Analogies: Study in the Movement of Time (1977) .
As the rhythm of the sample combined well with the visuals to augment the floating movements of the subject. The audio switches to a sample from the movie “Last House on Dead End Street” to emphasise the heat and intensity of the subject’s stare!’ 

Jonathan Chinchen (2014)

Don’t Have Nightmares 0.1: Psycho (2015)

Don't Have Nightmares 0.1 Psycho (2015)











Psycho: Shower Head (frame 311)

Frame 311 (shower head)






Project References:

Don’t Have Nightmares 0.1: Psycho (sound Experiment 1)

Rotoshop experimenting begins (Steps 1 and 2)

Rotoshop experimenting: Step 3

Sparky Shower

Maquette No 1 (Part 1)

Maquette No 1 (Part 2)

Maquette No 1 (Part 3)

Maquette No 2: Materials (Part 1)

Maquette No 2: Construction (Part 2 )

Maquette No 2: Film (Part 3)

Contextual Research:

Photographic Pop Culture

Italian 1960s Lounge Music



Don’t Have Nightmares 0.2: Alienation & Conformity (2015)

Don't Have Nightmares 0.2 Alienation & Conformity (2015) MP4


Project References:

‘Cicadas, Crackling and Popping Wet Wood and Lost Laughter in the Breeze’

Alienation & Conformity Tests 1 & 2

The Tokyo Underground: Project Presentation

The Tokyo Underground: Emerging From The Underground Experiments

The Tokyo Undergound: The Moving (experiment 3)

The Tokyo Underground: The Commuter Rapid (experiment 2)

The Tokyo Underground: The Still & The Moving (experiment 1)

The Tokyo Gas Attack & Objects of Disobedience (for the wrong reasons)

The Tokyo Underground: Drawings, Notes & Nostalgia from the Underground

The Tokyo Underground: Preparatory Notes

Contextual Research:

The Art of Dinky: Shop Fronts Tokyo (Shinjuku & Koenji)

Fuchu no Mori Park-Tokyo


The Golden Gai-Shinjuku

Nobody Tokyo

Recruit Rhapsody (2012) – Maho Yoshida

Sink (1999) – Satoshi Tomioka

Untitled (2016)

Untitled (2016)


Project References

Public Information Film Project: Persuasive Narratives (part 2)

Public Information Film Project: Persuasive Narratives (part 1)


Rotoscoping: Linear Alterations, Before & After

Public Information Film Project: Colour Tests (sequences 1 & 10)

Contextual Research

Public Information Film Project: Contextual Research Notes

Evan Baden-Technically Intimate

Helping Johnny Remember

Sequences & Early Planning

Public Information Film Project: Sequence No 11

Public Information Film Project: Sequences Nos 9 & 10

Public Information Film Project: Sequence No 8

Public Information Film Project: Sequences Nos 6 & 7

Public Information Film Project: Sequences Nos 1, 2, 3, 4 & 5

The Drawing Process

Public Information Film Project: Storyboarding










Disruptive Technologies (2017)


Disruptive Technologies (2017)

‘Based on 1970s British Public Information Films, the project explores the disruptive side of technology. The focus began analysing how devices interrupt our concentration when reading. However, through experiments and research, the project’s trajectory shifted to disruptions in urban environments. The city ambient sounds were recorded were while traveling from Tokyo to London. The soundscape depicts the daily bombardment of white noise city dwellers endure daily in the form of notifications, sirens, self-service machines and automated voices. Visceral voices that breathe invisibly within the city. The animated visual narrative follows a series of chaotic and fragmented forms. The following video documents the entire process from start to finish which began in 2015.


Project References:

MA Fine Art Digital Summer Show 2017 Walk Through Discussion

The Making of Disruptive Technologies (2017)

Disruptive Technologies: Layering & Augmentation

Disruptive Technologies: Self-reflexivity & Black & White Aesthetics

Disruptive Technologies-Stand Clear of the Doors!

Sequence Five Motion Tween

Disruptive Technologies: SMS Alerts (test)/Soundscape Notes

Disruptive Technologies Montage

Disruptive Technologies: Testing, Sound & Visuals

Disruptive Technologies: Sequencing

Disruptive Sounds Experiments

Contextual Research:

Synthetic or human? The changing voices behind transport announcements

Cyclogeography 5: Somewhere in Asia

Miyadera & Horinouchi, Saitama, Japan

When I was younger I used to watch re-runs of the stylish 60s TV cop series The Man From Uncle. Still like watching them now. Occasionally, a pre-sequence of an episode would typically begin with someone pursing someone with deadly intent and usually  in the middle of an uncultivated environment. Then, a screen title appears, ‘Somewhere in Africa’. Such vagueness with geographical referencing I found outlandish yet fascinating and original. When I get occasionally lost though usually not being pursued with deadly intent while cycling, that peculiar TV graphic reference springs to mind.

On this particular hot afternoon I wasn’t lost. I was drifting around Miyadera, a remote countryside area in Iruma shi, Saitama. Getting off the overbearing 179 road, I ventured into a quiet residential area. The look, the feel, the smell of the area was very scenic. I passed a closed post office, a closed independent grocery store, a closed hair salon and a closed petrol station. What was even more peculiar was the fact that I seemed to be the only person in the vicinity. The only thing in motion. Time was standing still yet I was allowed to move. The desolateness was most intriguing. I got off the ‘birdy’ and panned this experience. I waited a little, still nothing. I cycled back down to the main road, all the time, looking back, but still not a soul in sight.


Both effects put into audacity, amplified with echo. Details below from sound authors.

Howling wind effect: A doctored vocal imitation of a cold howling wind. Recorded using a Blue Yeti USB microphone. includes reverb and light stereo panning effectsCrickets: A minute of raw audio of night wildlife in Callahan, Florida. Crickets more or less dominate the ambiance.


Traffic interrupted the drift back to base. A long stretch of cars, bikes, trucks, some heavy articulated trucks were building up, clogging the 179. Many of the vehicles were too close to the curb so I dismounted the bike and walked for a while on the pavement slowly passing the steadily moving traffic. Down a few winding roads, I could see the turn-off in the distance. A small battered drive way on an incline caught my eye along the way. I noticed an old Showa house practically in ruins at the end of the drive. My eyes lit up instantly. I strolled down the drive way as though I lived there. Anyone watching me from the traffic would have thought so. Anyway, I was now on public property, I considered what to say in the event of being greeted by a person bearing a frown emerging from the front door entrance, holding a shotgun (as if!).  Fortunately, no one seemed to be around but a pair of old grey trousers on a rusty metal hanger hanging outside suggested a presence. Obscured from the drive way view was another ruin of a house but this one had much more character. This one was my cup of tea. It was connected to a structure I couldn’t work out. A workhouse of some kind. The protecting outer layers of wood had completely deteriorated. What was left were a chaotic assembly of upright rotting beams with buckets, bottles, ubiquitous yellow plastic crates and other nondescript ephemeral articles poking out of the weeds and brambles. Looking at this spectacle made me think if this were a human body, then I would be observing static internal organs. I sketched some of the outline but then re-positioned myself. Over the next few weeks I would return to this very spot. However, I’ve not been back to the area in Miyadera though. That picture of emptiness and abandonment still resonates in my mind.


Horinouchi, Tokorozawa Shi, Saitama Ken (2016)