My score for Act 2 of the German Expressionist film The Cabinet of Dr Caligari was shown by New Music Brighton at a concert at the Friends Meeting House in Brighton on 29.10.11. Here it is if you missed it, it's best seen 6m x 4.5m
From 7th-11th March 2011 I developed a multimedia installation called "Spoken here", in the University of Sussex Language Centre. A looped film was projected on the ceiling with a series of sound pieces using the languages spoken by staff and students of the Centre. We used as many foreign languages as we could muster we had 35 contributions in 14 different languages. The corridor was turned into a walk-through cinema of woodland visuals and voices.
Some of my favourites pieces from the installation can be played below:
A new track of mine Naiad is on Dancing Turtle Records' compilation release Organic Mechanics. It's available as a single track or as part of the compilation. Here's some more information from the press release:
Organic Mechanics is a new compilation release from Dancing Turtle, featuring a crop of emerging talent in the field of experimental electronica. There's tracks from artists including Igeon, Intermertic and eQo, as well as Daisuke Tanabe, Inkliing, Paradise Found and Roger Harmar. Sit back and relax. Let Organic Mechanics take you on a mind curling journey like no other.
Nobody by Igeon 4:38 Traveller by Intermetric 5:02 Closer (feat. Anita) by eQo 3:46 Housebreaker by Daisuke Tanabe: 5:25 Termite Circus by Inkliing 5:04 Buried by Paradise Found 7:50 Naiad by Roger Harmar 3:36
Here's the finished version of ±.pattern.time.memory, it seemed to go down well at the first performance. It is, of course, best viewed projected 4 metres by 3 metres or larger.
It was reviewed in the Shoreham Herald by Martin Ward
…'This fascinating and ambitious concert ended with two bold audio-visual pieces. Resurge, with music by Ric Graebner and poetry by Argyros Ioannis, skilfully read by Andrew Branch, combined richly chromatic projected images and pre-recorded music. The theme of literature and its habit of haunting our lives was matched on the screen by Roger Pinnington's vivid semi-abstract explorations of Italian church interiors. Roger Harmar's no less ambitious +/-pattern.time.memory used a wider range of imagery but no text apart from screened phases. Unlike Resurge, the visuals here were possibly a little too diverse and, although brilliant and insistent, their point, and relation to the music, were not always obvious.'