What does it take for someone to turn their back on their religious upbringing? What effect does that decision ultimately have on them and those around them? We explore the personal journeys of three people who walked away from their faiths and redefined their morality in a world without God.
An ex-Muslim, ex-Hindu, and an ex-born-again-Christian, each recount what their lives were like growing up in devout religious families and what spurred them on to renounce their faith. The programme traces the moments that defined their journeys.
What did removing the hijab in public for the first time represent for the ex-Muslim? How did a religiously motivated bomb attack in India affect the ex-Hindu’s understanding of his faith? How did the ex-born-again-Christian learn to live in a world without morals and rules defined by God?
A short, meditative film I directed and produced with Professor Nicholas Humphrey exploring the scientific significance of consciousness and the problems we face in understanding its existence.
After working with each other last year Nick and I were keen to explore consciousness in a short form piece – quite the challenge considering the complexity of the subject matter.
Our intention was not to be too heavy handed with the facts and figures, but instead to present the viewer with some of the key questions and problems that scientists face in understanding consciousness from the perspectives of evolution and neuroscience.
One of the greatest challenges with this piece was always going to be in constructing compelling images to go alongside the narration and pieces to camera. It was with this in mind that we chose the Botanic Gardens as the lush and colourful backdrop in which to explore these ideas against.
The film was shot primarily on a Canon 6D over a couple of days, on location at Cambridge University Botanic Gardens and at the Royal Institution. I was really impressed with the footage coming out of the 6D (aside from a few moire problem) and it received very little grading. I also paid a little extra attention to the audio, mastering it outside of FCPX and in Ableton Live – just to give it a bit more polish!
Last year, as part of an AHRC funded project, I was commissioned to make a short experimental audio documentary on the subject of silence. I was given freedom as to how I explored this subject and so I set out to capture the thoughts of those who worked with sound and in silent spaces.
The result, unsurprisingly, was that silence meant lots of different things to different people and so thematically it was very noisy! This relationship between noise and silence was one I was keen to explore through the production and so the piece is filled with hiss, distortion and feedback in an attempt to echo the noisy subject matter. This was explored further through the use of interviews but also with extracts of the poem ‘Describing Silence’ which are intercut throughout. This piece written by James Wilkes was a response to his time spent in total silence and explores some of the self generated noise born out of silence.
The audio work was an artistic output for an Arts and Humanities Research Council funded project exploring the role of silence in academia and other professional fields. The project was run by the Science Communication Centre at Imperial College London and the piece was featured at one of their events.
The piece features interviews with Sophie Scott (cognitive neuroscientist), James Wilkes (poet and writer), Sara Mohr-Pietsch (BBC Radio 3 presenter), Cheryl Tipp (Natural Sounds Curator, British Library) and Vidyadaka (London Buddhist Centre).
The idea of distortion and noise influenced the production from the early stages and as work continued I really wanted to create an intense build up of noise that would level off and really help mark the silence experienced later on in the anechoic chamber.
The piece written by James Wilkes ‘Describing Silence‘ – can be heard in full below:
The interview and reading from James was recorded in an anechoic chamber based at UCL. The space itself is very strange to stand in, the best comparison I can think of is what happens to your hearing when you travel in a pressurised aeroplane. In terms of recording audio in there, it was actually a pretty boring space to record in!
Although it did crop up in several interviews I was keen to avoid referencing John Cage’s 4:33 – there are some great pieces on this already (particularly here: http://www.thirdcoastfestival.org/library/1258-john-cage-and-the-question-of-genre) and it justifies a much longer discussion than I could have accommodated for it.
The piece was recorded on a Zoom H4n and a Marantz PMD661 with AKG D230 dynamic microphone. It was edited and composed in Ableton Live.
This is a short audio piece which was originally created for the In The Dark Christmas party – however it didn’t quite fit the bill in the end, being as it is, devoid of any Christmas cheer. Anyway, I thought I’d better not let it go to waste and instead make it available on here – I suppose this is the obligatory Christmas themed post.
It’s another short piece (see Adam as machine) which has fallen out of The D-Word, a documentary I produced over the summer which will be appearing on Transom.org early in the new year. This piece features pathologist, Dr Stuart Hamilton and was recorded in the mortuary at the Sunderland Royal Infirmary back in July. The material I recorded with Stuart at the mortuary only forms a small part of the overall documentary, yet I think it’s interesting enough to justify an entire piece on it’s own, maybe I’ll get around to it one day.
Dr Hamilton explained to me how winter was a particularly busy period for the mortuary staff, with mortality rates increasing in the elderly over the colder months of the year. Another interesting point was that they tended to receive an increase in the number of decomposed bodies at Christmas, but I’ll let you listen to the piece to find out why…
I’m not going to go into a massive rant on how important it is to make an effort to spend time with family, because I’m particularly guilty of not doing so. It just seems that the mortuary staff gain a depressing insight into the mistakes we make and how we choose to lead our lives.
One interesting piece of media I came across today (whilst reading about the origins of cinema) was an early piece of footage shot by the Lumiere brothers in 1896:
The silent film depicts an unnamed dancer quite hauntingly perform Loie Fuller’s Serpentine Dance. Each frame was hand coloured to help vividly depict the striking motion conducted by the dancer.
Auguste Lumière and Louis Lumière were among the earliest filmmakers in history and produced some of the most pioneering and influential films of their time. The brothers are best known for producing their series of short ‘actuality’ films, which captured everyday events on film. These ‘actuality’filmsare considered by many to represent the earliest incarnation of the documentary film.