Capital Irish Film Festival: Music and Multimedia Concert

Capital Irish Film Festival: Music and Multimedia Concert - Washington DC

A music and multimedia concert curated by composer Sarah O'Halloran as part of the Capital Irish Film Festival (CIFF) showcases a selection of fixed-media works featuring original music and original moving images by mainly Ireland based composers and moving image artists.

"Enjoy opera with animation, Irish dance with sound art, and abstract video art with ambient electronics then vote for your favorite piece. The makers of the Audience Choice work will win a $1500 prize."

Date: Saturday, February 7, 2015 from 5.00 to 6.30pm at the Goethe Institut, Wachington DC, US.

See website for more information and for booking details:
http://www.solasnua.org/calendar/music-and-multimedia

Brochure for the Capital Irish Film Festival
http://www.solasnua.org/s/CIFF-Brochure-13-Jan-2015.pdf

Capital Irish Film Festival
http://www.solasnua.org/ciff

Music and Multimedia Programme:

(source website: http://www.solasnua.org/calendar/music-and-multimedia)

For Each and Every One - by Joseph Harney (composer), Neil O'Driscoll (filmmaker)

RoughTime - by Trish McAdam (Director/Producer), Trevor Knight (Composer), Gyohei Zaitsu (Butoh Dancer) with Marc Sherwin (After Affects), PJ Dillion (Cinematography), Paul Tsan (Grip)

Urban Pulse - by Ashlene McFadden (concept, director, editor), Cormac McAteer (camera man, editor, animation), James Greenan, Andrew Vickers, Joseph Comerford (Irish step dancers)

Evolution of Close Double Stars - by Irene Buckley (Composer), Mike Hannon (Video)

Contour - by Mary Wycherley (director and editor), Jürgen Simpson (composer), Laura Murphy (performer), Siobhán Ní Dhuinnín

To Do List - by Brian Irvine (Composer), John McIlduff (Writer/Director)

Fly Away Marlene - by Fergal Moloney (composer, visuals)

Silk Chroma (excerpt) - by Maura McDonnell (Visual Music Composition), Linda Buckley (Music Composition) with Dermot Furlong (Producer), Gavin Kearny (Technical Sound)

on and on and - by Fintan Ryan (director, animator, composer)

Wind On Waves - by Shaun O’Connor (director, editor, effects), Katrina Emtage (Composer, performer), Ilse De Ziah (performer)

Falling - by Enda Bates (composer, performer, visual artist)

Peter Lily and the Nose - by Brian Irvine (Composer), John McIlduff (Writer), Matthew Robins (Animator)

Eli, Eli - by Natasa Paulberg (composer), Eileen Carpio (visual artist)

The Incantation of Amergin - by Lorcán Mac Mathúna (composer, voice), Daire Bracken (composer, fiddle)

winter tells lies - by Jonathan Nangle (composer), Agnieszka Kamińska (video)

Contact - Augmented Acoustics

Felix Faire (UK), a Parametric System Designer had designed some very interesting interactive installations. One of these, Contact is an interface with which to manipulate and visualize sounds. Beautiful results. View Contact: Augmented Acoustics CONTACT: Augmented Acoustics from Felix Faire on Vimeo . "CONTACT is a tangible audio interface to manipulate and visualize sounds generated from interaction with a simple wooden surface. Any physical contact with the table generates acoustic vibrations which are manipulated and visualized LIVE as they occur using several communicating pieces of software. All code will be opensource and available on github. Bartlett School of Architecture Msc AAC Tutor: Ruairi Glynn" More information: http://www.coroflot.com/felixfaire/profile Vimeo Channel: https://vimeo.com/felixfaire

D.D. Jameson - Colour Music (1844)

D.D. Jameson devised a systematic approach to create a colour music score for a specially adapted piano. His scores took the information from a piano music score and applied it to a sound-music colour scheme and translated it into a colour score. The colour score communicated the musical information - such as notes, rhythm, durations. His score was to link to a special adaptation of a piano music instrument that would have the keys prepared with the relevant colours. The musician could then play the piano by following the colour music score. Not only were the piano keys to be coloured according to his colour to tone analogy system but the score was to also communicate other aspects of the musicianship such as: the intervals of the music, the notes and their octaves, by mapping the height of the colour to the octave of the note and the width of the colour to the duration of the note. "A pianoforte having been prepared in the manner described, any air may be slo...

International Call for Works - VISUAL MUSIC FESTIVAL

I am very happy to announce the call for works for visual music films for a visual music festival devoted to contemporary practice to be held at the University of Kentucky, US. Why I am very proud is one of my former students is involved in organising this, well done Kristine SCFA Visual Music Festival 2025 @ The University of Kentucky Call for visual music films, Deadline is 15th December 2024 General Rules: • The films must be made entirely with abstract imagery, avoiding representation. That is: no cars, no people, no landscapes, no texts, etc. • You can use any technique you’d like: drawing, video composition, cgi, scratch, op-art, stop-motion, camera-less… • The soundtrack cannot feature any words, in any language. If you’re using a song, this must be instrumental or feature non-narrative voices, (no lyrics). • Maximum running time is 8 minutes. • Open and/or closing credits are welcome. • Films must have been produced after 2017. • We kindly request authors to enter their fi...

Visual Music

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