Sensum is a mobile platform that enables both your conscious and emotional choices to personalise any entertainment experience.
Sensum integrates emotional response reporting into any media and is universally compatible with a wide range of platforms and devices.
Through Sensum, media such as TV, games and film can now provide new exciting layers of exploration, enjoyment and play making your next adventure unique.
Whether it’s second device, connected TV, on demand or live; Sensum brings you closer to your favourite television programmes with new and exciting means of engagement. Your emotions become part of the story.
An interactive film experience pushes new boundaries allowing you to change what happens. By using mobile technology Sensum easily works with existing digital cinemas as well as offering multi-platform opportunities in and outside the big screen environment.
Sensum is your new game controller. By integrating sensor-captured emotions, the digital you becomes an active variable in gameplay and game environment.
Sensum grants players a way to close the emotional feedback loop bringing you into the game universe in a way never before experienced.
Brand communications & loyalty are integral to connecting with customers and in this increasingly interactive world finding new ways to engage is a challenge. Sensum provides users with a fun & deeply immersive opportunity to discover new relationships with brands.
Sensum reports on different layers of user data for focused audience tests and marketing. Its mobile platform allows for reporting to take place anywhere, anytime.
New technologies provide new opportunities for exploring yourself as you engage with the world. Sensum offers you a way to visualise those responses. Be first to try it. Be informed. Be in control.
Filmtrip were asked to shoot a music video for the Beardyman track ‘Vampire Skank’ from the album ‘I Done A Album’
If you’re anyone who is anyone you know who Beardyman is ... I should maybe correct that with if you’re from the upper heights of the remotest mountain range this side of the Arctic then you’ll know who Beardyman is.
Beardyman, his manager Adam Dewhurst, and Gawain from Filmtrip battered a few ideas back and forth for a few months, sussing out whether this was a flyer or not. Tommy Baker from Yer Man’s Puppets threw together a teaser with some of his more deranged puppets, and from there it was really more of a when & how to get this made as we were all really wanting to make this happen.
The moment came one Friday afternoon .. the call came through .. we’re good to go!
We pulled together the crew, Sunflowerfest came through with a cracking location, Beardyman recut the track to take in some extra shots that we got, and the lads shot a bit of stuff in a restaurant in London .. and then it all came together for one crazy crazy video. A lot of fun was had by all & may the world have as much fun watching it as we had making it.
He was given the nickname “Beardyman” because a name was quickly needed for a flyer for an early show, and he had a beard at the time.
As well as accomplished solo beatboxing, Beardyman was inspired by MC Xander to use music technology such as the Korg Kaoss Pad 3 in order to loop and sample his vocals. Through his use of looping tools he effectively produces whole DJ sets where the records are constructed live from his vocalisations, as well as live production of original material.
This is our favourite beardyman video :
Wanna buy the tune & perhaps even the album? Then here ya go : http://www.amazon.co.uk/Vampire-Skank/dp/B004PRVXZU
Wanna know more about the man himself? http://www.beardyman.co.uk/
[in]visible belfast, is a game in which the main character Ana and game-players are drawn deeper and deeper into the internal labyrinth of Belfast, guided and dared by an anonymous author who leaves clues and orchestrates puzzles throughout the city,
Joined by a young writer named Meri and a helpful artist named Jack, Ana attempts to solve the mystery to discover what lies at the heart of the city of Belfast.
This is a form of alternate reality game (ARG), one that immersively draws players into the multilayered realities of the city, engaging them with written literature, narrated and media events online, and actual performances and live events.
The narrative of [in]visible belfast follows an inner world of Ciaran Carson, an imaginative, spatial history of Belfast, in combining pieces of many works of literature into a multifacted whole.
Great voices of literary history mingle with the voices of characters, all of whom communicate with players in a multitude of ways, by engaging with both the story and the digital and location-based puzzles.
Players will build a dynamic and personal history of Belfast in a new form. In the game, players reveal the invisible city, and in the city, the universe.
[in]visible belfast is a project by Danielle Barrios (English Literature) and Alan Hook (Interactive Media Arts) at the University of Ulster, and is currently supported by that university, as well as Queens University through the Queens Quarter Weekends events programme, the Crescent Arts Centre and its Belfast Book Festival, in collaboration with cross-platform Belfast production company Filmtrip Ltd. The game ran from 12 May to 19 June 2011.
For details, links & videos : http://www.invisiblebelfast.com.
For some other websites that were used during the game :
Danielle Barrios, Game & Event Writer, said,“It will be exciting to learn about Belfast through the eyes of its players, to see what might have been invisible to us as well. This isn’t about telling the story we want to tell, but rather a challenge to draw a narrative from the city itself, from the people who make it what it is. We’re looking forward to being a conduit for what we hope are some very unique literary experiences.”
Alan Hook, Game Designer, University Of Ulster, said “Developing [in]visible belfast has been a great way to work collaboratively with some really amazing practitioners, writers, producers and venues on a really engaging rich and dispersed narrative. This has been a way to work in innovative ways with lots of different media forms to create what will be an amazing 5 weeks of play and story across the city and the Internet.”
Gawain Morrison, Producer - Filmtrip Ltd, said, “As book publishers, newspapers and writers embrace the world of new technologies a number of different ways to consume literature, and to have deeper levels of engagement, literature lovers are being offered a whole new way to engage with books & writers. It’s great to have such a dedicated & creative team working on this game, and being able to run it as part of Belfast Book Week is just perfect. To be able to use this kind of gameplay to engage a new audience with literature, especially literature from N.Ireland is exciting.”
Ana is an outsider in Belfast, a quiet astronomy student recently transplanted from Canada. Searching in the library one day, Ana stumbles across a book that seems misplaced. Its title is The Star Factory. Inside, half the pages have been marked through, and it is filled with strange diagrams and what seem to be clues. Rifling through the odd book, Ana discovers a handwritten note, and beneath it, a map. The note reads:
You scan these streets as if they were written pages. It is possible – it is necessary – for the astronomer to graduate from reading the night sky, to seeing it.
In the pleiad, find the multitude; in the city, the universe. And at the heart of the city, you will find a way out.
Good luck to you.
Unquestionably, Belfast now attracts global literary renown and over the past four decades this has been its foremost imaginative export.
Michael Longley, Derek Mahon and the Nobel Laureate Seamus Heaney emerged in the sixties, and are known across the world as some of the finest poets writing in the English language. A prolific new generation of poets & novelists are coming through and the Literary Belfast iPhone app will soon be available to download.
You can get the app for free here : http://itunes.apple.com/gb/app/literarybelfast/id438409199?mt=8
As part of Belfast’s literature strategy, and building on the success of the Belfast Music app, Filmtrip created the Literary Belfast app. We have been privileged by the selection of writers who have agreed to take part in this piece of social & cultural history. We have 15 writers for 15 locations, and our literary ‘guide’ and humble advisor, Glenn Patterson, has been keeping us on the straight and narrow through this project & the interviews. Thank you to Seamus Heaney, Michael Longley, Marie Jones, Leontia Flynn, Owen McCaferty, Bernard MacLaverty, Frank Ormsby, Sinead Morrissey, Patricia Craig, Martin Lynch, Ciaran Carson, David Park, Colin Bateman, Paul Muldoon & Glenn Patterson.
The sections for this app include :
- Literature Tour : Belfast through writer’s eyes. 15 writers at 15 locations talk about the inspirations, their lives and their literature, sharing a living literary history
- New & Reviews : The latest news and reviews on N.Irelands literary events & writers
- BBC Poets & Writers Exhibition : 26 of N.Irelands finest talents displayed for all to see
- Videos : A selection of interviews and readings from past events
From the splendour of City Hall or the lives commemorated in Writer’s Square to back alleys and quiet suburban streets across the city where the finest of our writers lived, you will get to share in this experience through the tour.
Brian Moore, that unquiet exile, moved from Belfast to all corners of the globe, in life and in fiction, while illustrious visitors from John Keats to E.M. Forster, Anthony Trollope to Kate O’Brien, have entered the city and written about what they’ve seen and heard. Literary Belfast is very much alive, with a multitude of events, festivals and venues which will take you to places old and new, through history and the changing modern city alike.
While working as a tutor at Queen’s Seamus Heaney formed part of the famous Belfast ‘group’ of writers with Michael Longley, Stewart Parker, Ciaran Carson and many others. Their successors include Frank Ormsby, Tom Paulin and Gerald Dawe whilst Medbh McGuckian, Sinead Morrissey and Leontia Flynn, write at Queen’s today. Another Queen’s alumni, Paul Muldoon, is now one of the world’s most acclaimed poets and a Pulitzer prize winner, while brilliant short story writer Bernard McLaverty graduated in the 1970’s. Many years previously, Louis MacNeice, one of Northern Ireland’s finest poets, grew up on the Malone Road near Queen’s.
Creator of the Narnian Chronicles, CS Lewis wrote many of the haunts of his east Belfast boyhood into the magical series, while acclaimed novelist Brian Moore, author of the ‘The Lonely Passion of Judith Hearne’ grew up in north Belfast.
Today, a new generation of Belfast novelists are spearheaded by Glenn Patterson and Robert McLiam Wilson, whose 1996 novel ‘Eureka Street’ was televised by the BBC. Colin Bateman’s black comedy ‘Divorcing Jack’, set in Belfast at the end of the troubles, has also been filmed. Acclaimed and award winning playwrights Owen McCafferty and Daragh Carville have written for both stage and screen.
‘Biosuite’ is a collaborative project bringing together the disciplines of film production, music composition, environmental art, technology, and engineering to research ‘future cinema’ and the ever-increasing demand for audience interactivity & immersion in the audiovisual experience.
Belfast-based production company Filmtrip and Queens University’s Sonic Arts Research Center [SARC] join forces to create a world first cinematic experience as part of the Creative Industries Innovations Fund.
‘Biosuite’ is a collaborative project bringing together the disciplines of film production, music composition, environmental art, technology, and engineering to research ‘future cinema’ and the ever-increasing demand for audience interactivity & immersion in the audiovisual experience.
The short film ‘Unsound’ was shot & post-produced in N.Ireland, screening in the world’s leading 360 degree audio facility, based in Belfast, at SARC. The Sonic Laboratory is a unique multi-functional concert hall / research laboratory. It can accommodate an audience of up to 150 and features a 48-channel sound diffusion system.
Whilst the TV, film & games industries are rushing into 3D, conversations about 4D (adding physical effects to the 3D viewing experience ) are already taking place. Usually the domain of the theme park such 4D experiences are becoming more widespread as new methods of attracting audiences to cinemas are being explored by the studios.
But this project ‘Biosuite’ is going one step beyond the 4D experience, and getting into the minds and emotions of an audience.
Beginning as a conversation about creating films that helped the audience feel more involved, and more immersed in the experience, Filmtrip’s Gawain Morrison & SARC’s Dr Miguel Ortiz Perez discussed a number of techniques before deciding that tapping into emotions of an audience could be really interesting.
The opportunity to make this idea a reality came when the Department of Culture Arts & Leisure, along with the Arts Council, launched the Creative Industries Innovation Fund. ‘Biosuite’ was selected for the first round of projects through this scheme, and has been going through six months of development, since the award was made.
The partnership between Filmtrip Ltd & the Music, Sensors and Emotion (MuSE) cluster at Queens University’s Sonic Arts Research Center combines commercial knowledge with educational skills & world leading facilities.
An established centre of excellence dedicated to the research of music technology, SARC is a unique interdisciplinary environment which has united internationally recognised experts in the areas of musical composition, performance, signal processing and Human Computer Interaction.
Filmtrip’s award-winning production team of Gawain Morrison & Chris Martin have been involved in feature films, shorts, music videos, music production, event promotion & tours over the last 20 years.
The MuSE team consisting of Dr Ben Knapp, Dr Miguel Ortiz Perez, Javier Jaimovich, and Niall Coghlan, have been researching emotional response reactions in relation to music performance & visual stimulus, and having 18 months of research under their belts allowed the Biosuite project to kick off at a prototype level quite quickly.
To complete the team horror feature-film writer Spencer Wright scripted the film & Belfast-born director Nigel [N.G.] Bristow directed it.
SARC’s centrepiece, the Sonic Laboratory, provides a unique space for cutting-edge initiatives in the creation and delivery of music and audio, and so it was decided that not only should a short film be produced to push audience’s emotional buttons, but that the film should be experienced in this extraordinary audio environment.
Small attachments to the audience member’s hands pick up ECG [Electrocardiogram] signals, measuring and recording the electrical activity of the heart, and GSR [Galvanic Skin Response] which measures the change in conductance of a persons skin, and is highly sensitive to emotions in people. Fear, anger, startle response, orienting response and sexual feelings are all among the emotions which may produce similar GSR responses.
These signals are captured by a computer running software, created to process the incoming data from the audience, and depending on what the audience’s response is measured to be, at any particular point, determines what changes occur in the film that they are watching.
This unique cinematic experience will allow the audience to experience changes in the score, the sound effects during scenes, the placement of audio within the SARC lab, and changes in character point of view.
The film will take approximately 15 minutes to watch, and a number of permutations will be viewed or heard depending on how the audience feels as they move from scene to scene.
A project that is operating in uncharted waters ‘Biosuite’ is allowing a lot of room for all of the creative juices to get flowing at one time, and everyone involved with the project is very excited at the potential.
Whilst keeping the focus on this project both Filmtrip and the MuSE team have their eyes on the larger picture of feature film production, gaming and location-based emotional triggers, all using the skills & tools that they are learning whilst producing this project. The changing shape of the media landscape, from audience participation through to the blurring of media lines & boundaries, offers up a wild west range of opportunities to people and companies able to experiment in this space.
We had out first public emotional response interactive screening as part of SXSW in March this year, in the Alamo Ritz on 6th Street, in Austin. We followed this up quickly with 3 evenings of screenings as part of Belfast Film Festival, and screened our emotional response horror short ‘Unsound’ as a double bill with a different David Cronenberg film each evening. The audience members that were wired up kindly allowed us to collect their physiological data in response to each of the David Cronenberg films. The 3 films were Videodrome, Scanners and Naked Lunch. We are presently analysing the results for future projects.
You can check out the article written by New Scientist Culture Lab at http://www.newscientist.com/blogs/culturelab/2011/03/plug-in-for-emotional-response-cinema.html
N.G. BRISTOW studied English and Drama as an undergraduate and film as a postgraduate at Goldsmiths College. His short films include: HIDE (theatrical release with THIS FILTHY EARTH); EVERYBODY’S GONE (Gold Plaque at Chicago); DAH DIT DAH (Best of The Fest, Edinburgh); ANIMAL IN THE MIRROR (Cork, Stuttgart, Rotterdam - 1 shot, 11 mins, 16 mm). They have been screened at major international film festivals and on television stations all over the world.
As a screenwriter Nigel has been commissioned by Channel Four (RIPLEY BOGLE), The UK Film Council (KLOXX), Tall Stories (ANGEL WEST) and Crow Foot Films (LITTLE HOURS). Nigel has directed over a dozen different primetime TV dramas including the much-beloved shows: BALLYKISSANGEL, THE BILL and CASUALTY, along with the little-seen “cult” / bizarre misfire NIGHT AND DAY. He has recently begun directing commercials through Street Monkey.
As a guest lecturer he has run workshops at many universities and film schools including: Goldsmiths College, RADA, The Royal College of Art, Metropolitan Film School and University for The Creative Arts. He was a special guest at Rencontres Britanniques in Antony and the symposium on Irish Cinema at Charlottesville, Virginia.
Beyond the obvious he has acted opposite Vivian Stanshall in the TALE OF THE LONG SKY; terrified audiences with his binaural nightmare “THE EVER EXPANDING CABINET OF UNNAMEABLE HORRORS” at the Canal Café; and brought theatre to the terraces of Millwall FC - and lived to tell the tale. He is also a former Irish Men’s Sabre champion, though his fencing is a little rusty these days…
Miguel Angel Ortiz Pérez is a mexican composer and sound artist based in Belfast. Born in Hermosillo Sonora, he has been involved in a vast range of activities related to modern music and sound art. He has worked professionally as a composer, sound engineer, lecturer, score editor, promoter and sound designer.
Sporadically, he takes part as a performer in ensembles such as BLISS, Control Group and M&B; where he explores a vast array of performing mediums ranging from traditional acoustic instruments such as cello and trumpet, to laptop improvisation, performance with bio-instruments and hyperinstruments.
Miguel graduated from the Conservatorio de las Rosas in Morelia, México under his mentor Eduardo Solís Marín before pursuing a Masters degree at the Sonic Arts Research Centre at Queen’s University Belfast under the guidance of Ricardo Climent and Pedro Rebelo. He is recently completed a PhD at SARC, focusing on the use of biosignal interfaces for musical applications under the supervision of Professor Michael Alcorn and Dr. R. Benjamin Knapp.
I write film scripts for the same reason I watch films; to lose myself in other worlds, to vicariously walk a mile in someone else’s shoes and hopefully learn a little something along the way. (Even if that something is; don’t take a job as caretaker in a mountain resort, live on Elm Street or ever… ever .. babysit.) Anything that helps immerse me in ‘reel world’ rather than ‘real world’ automatically gets my vote.
Many a tool has been employed down the years; from smell‐o‐vision, B‐Movie foyer high jinks, to the recent 3D magic of Avatar. But we’ve still only managed to venture some of the way. The movies we watch have only ever been on TRANSMIT rather than RECEIVE. Up to now the traffic has been one way.
The experience, whilst not passive, certainly hasn’t been inclusive. Which is what so excited me about the Biosuite project. As a filmgoer, first and foremost, the idea that I could influence the onscreen world was utterly mind blowing ‐ Mood and tone dictated by my responses, shifts in score, a story which would evolve through my responses, characters who live or die depending on how I feel!... Does it get any better than that?
The gaming industry has made this a fine art but those longer in the tooth may remember devouring board based RPG’s and fighting fantasy books in which the avid player’s fate balanced on the throw of a dice. All forerunners for a brave new world that, at long last, we are now on the cusp of discovering, in film.
When I was first pitched the Biosuite idea by Gawain at Film Trip my initial thought was ‘Sounds awesome when can I come and see it?’ Even better then to be asked to write the script which would launch this maiden voyage. To be at the genesis of such an innovative and groundbreaking project which (and forgive my excitement!) really could change the way we watch film forever is an honour.
. It seems right that the often critically maligned whilst publically adored horror genre will be the first to dip its toe in these new waters. In my view it is perfectly placed to invoke an honest and interesting spectrum of reactions from the audience; everything from heartache to yuk!
Not that this experiment should, or will, end with horror. Can you imagine the ‘Will they ‐ Won’t they?’ climax of a Rom Com being answered organically by an audience and not solely by the filmmakers? Wouldn’t ‘Dirty Dancing’ have been a much better film had Baby missed the climatic, ‘I’ve had the time of my life’ jump at Kellerman’s and landed teeth first in the dirt … Sorry I digress ☺
I’m sure there are writers who will disagree and venomously resist any attempt to tell a tale anyway but their way. But once a word is read or an image viewed it really ceases to be purely yours anyway.
It belongs to the reader/viewer who can and will interpret it anyway they see fit. Creating set ups and parameters which stay honest to the characterization whilst providing a range of outcomes is undoubtedly a challenge; but well worth doing. Suddenly, the work becomes almost a living breathing thing; something that can surprise and enthral as it evolves in the hearts (literally ☺) of the audience and on the screen before your eyes. The connection between writer and audience has never been more intimate, the gap between ‘real’ and ‘reel’ never smaller.
The Biosuite project represents for me a new way to write, a new way to watch and ultimately a new way to think.
DEVELOPMENT – The first step for me was to try and get a handle on the technology in terms of how it might influence the structure of the story to come. Technology is a double edged sword for me. Like research it has a ‘devil’s candy’ appeal. It’s easy to get embroiled and glammed by it thus taking your eye of the core story itself. And from the outset Film Trip wanted more than just a format that would simply be a vehicle for the kit, our story had to be cognizant of the technology but not dictated by it.
For instance we had to be aware of moment s in the script which allow for the gathering and processing of data which would dictate the onscreen action seconds later. Juncture points in which events could take a different turn had to be devised and embedded. But throughout we wanted our short film to stand on its own two feet whether viewed as part of the SARC experiment or at home with your feet up.
So I began to flesh out what I expected to be a few ideas. But the goals and ethos behind the project is such that these few ideas quickly became dozens. Possibilities abounded! We explored various set ups of a scientific bent. However, most of them fell into that age old trap of trying to tell a feature film in a short film format. Which rarely ends well. (Not that they weren’t fun to write. I’d wager a few of them may well make it fully to the page one day. Watch this space.)
In the end I got together a document of 20 or so pitch‐sized ideas. It included everything from; demonic garbage grinders (that one from the diseased mind of Chris Martin) to joyriders racing with the devil, and graveyard shifts in haunted hospitals.
In the end one idea stood out from all the others, this idea was as far removed from the scientific angle we’d previously been exploring and yet it was undeniably the one that got us most excited.
‘Thief in the Night’ [now Unsound] presented itself as a story with emotional meat on its visceral bones. A setting which was far removed from the technology yet could easily fuse with it to produce a unique movie going experience and a story that came from a very simple, almost fairy tale, seedling of; “There was an old woman who lived in a house…”
Further meetings with the SARC team not only crystallized the nature of the technology for me but also proved we were onto something as they too began to share our excitement. Miguel had ideas on the use of score almost as an additional character in the story. Another facet of the experiment is to actually record the effects changes in sound and score have upon an audience. These findings will be the bedrock for bigger, better things to come. Everyone had space to bring their creative talents to the table and the script that followed just got better and better as a result.
ACTION! ‐ Director Nigel .. NG .. Bristow has the unenviable task of weaving the strands of story, performance, cinematography and experiment into a cohesive end product. But as I said earlier the goals and ethos behind Biosuite are such that they both inspire and energize at every turn. I have no doubt he’ll rise to challenge. Throughout development Nigel has managed to keep abreast of the technology whilst keeping a firm, weather eye on the story; counter balancing the more extreme elements of the script with the poignancy of witnessing an elderly woman struggling against the ravages of time and ageing.
As the rehearsal phase begins I for one believe the mix is right; a tenacious, forwarding thinking production house, a solid script, uber-talented Director and a host of tech geniuses coming together to create something pretty special.
We are now merely weeks away from taking a big step. But it is still only a first step.
Today a short film. Tomorrow a feature. In a few years time who is to say we won’t all be sitting down at home, wired to our televisions actively changing the events of some wonderful onscreen world ……
Filmtrip and SARC are blazing a heady and exciting trail. I’m glad I was there at the beginning. I definitely can’t wait to see where we end up. Either way … It’s gonna be one hell of a ride ☺
Belfast has created a world first in Music Tourism, the Belfast Music iPhone app. There is an explosion of new music coming out of Northern Ireland, building on the city’s rich musical heritage, and in an age of apps & mobile, the free to download Belfast Music iPhone app allows people to explore it all anywhere, anytime.
You can get the app for free here : http://itunes.apple.com/gb/app/belfast-music/id356838268?mt=8
Imagine there was a way to discover the rich musical heritage of a city, through a mixture of historical anecdotes and street level music info, accessible anywhere, anytime. It exists and it’s called the Belfast Music iphone app.
There is an explosion of new music coming out of Northern Ireland, building on the city’s rich musical heritage, and in an age of apps & mobile, the free to download Belfast Music iPhone app allows people to explore it all anywhere, anytime.
The app allows you to experience:
• a fascinating Music tour, narrated by BBC Broadcaster Stuart Bailie, dubbed the John Peel of Belfast, with musical accompaniment from David Holmes, Neil Hannon and the Ulster Orchestra, Rudi, The Undertones, Ash, Therapy and many more, taking you on a journey of old and new, covering all manner of genres, tastes, and locations
• a Hall Of Fame introducing you to Belfast’s Music legends;
• Gig Listings & News, making sure you don’t miss a beat, and share it through your facebook & twitter accounts
• Music videos from Northern Irish bands, across a range of genres
• a Showcase introducing you to the best in contemporary Belfast Music taking the world by storm
Conceptualised & created by Filmtrip, Belfast City Council saw a great opportunity to lead the world in mobile tourism which fitted perfectly with their overall music strategy for the city. Filmtrip was commissioned to rebrand Belfast Music for all platforms and promotional materials, to assist in the digital strategy across all platforms as well as creating the Belfast Music iPhone app.
With the support of OhYeah, BBC NI, the Northern Ireland Tourist Board and the Arts Council of NI, the iPhone app accompanies a new Belfast Music website http://www.belfastmusic.org, an expanded Belfast Music Exhibition at the Oh Yeah Music Centre in the Cathedral Quarter and a weekly music bus tour.
Music iPhone app Creator Gawain Morrison of Filmtrip said: “I’ve been in and around the music scene of Belfast for 15 years, and have always been impressed with the talent that we’ve produced, so I’m really proud that we were able to create the iphone app to showcase where we’ve come from and where we’re going to. I think it shouts to the world how cool Belfast has become.”
Paul McLean, Producer of BBC’s Across the Line said: ““It’s great to see Belfast being ahead of the pack with this app. We hope this evolves into a must have app, not just for stalwarts of the music scene here, but for every visitor coming to the city looking to hear some of our amazing musicians.”
Publisher of AU (Alternative Ulster) magazine Jonny Tiernan commented: “The Belfast Music App is an innovative and unique way to introduce the rich heritage of the Northern Irish musical landscape to people. It is both fun and informative, and manages to reflect the extraordinary diversity of talent we have in this country. I’d recommend it to everyone as an experience to take part in”
‘Belfast is a city looking to push its musical heritage and promote the music of the now.’ Keith Wildman, Sabotage Times
The Belfast Music iPhone app showcases past legends and contemporary inspirations that have shaped the music landscape of our city. Check out where Belfast legends grew up and cut their musical teeth, and check out the many venues that show off the present wealth of musical talent.
Within this application the user experiences a Music Heritage tour, narrated by BBC Radio Broadcaster Stuart Bailie, one of N.Ireland’s champions of local music, equally as enjoyable whilst walking the streets of Belfast as lounging in the clubs and bedrooms of the world; the Hall Of Fame introduces you to the legends of Belfast Music; the Gig Listings & News sections will keep you up to date on all things going on in the scene of Belfast Music; and Showcase will introduce you to the best in contemporary Belfast Music taking the world by storm.
With musical accompaniment from David Holmes, Neil Hannon & The Ulster Orchestra, Rudi, The Undertones, Ash, Therapy and many more, the Music Heritage Tour takes you on a journey of old and new, covering all manner of genres, tastes, and locations.
There is an explosion of new music coming out of Northern Ireland, building on the global success of past & present artists in many genres, and with some of the best audiences in the world, Belfast can be sure that it’s legendary status lives in many musical memories.
As part of their ongoing commitment to lifting the international profile of music in the city, Belfast City Council in partnership with NITB, OhYeah & Filmtrip have created this iPhone application to accompany the new Belfast Music website, and the music bus tour.
The Beat Hotel is a dark comedy puppet show inspired by the legendary Beat Hotel in Paris.
JOIN THE CAMPAIGN AT http://www.facebook.com/thebeathotelshow
Welcome to The Beat Hotel. We hope you enjoy your stay here, and find the atmosphere free, inspiring, and groovy. Checking in couldn’t be easier, in fact, you’ve done it already… Well, you’re here, aren’t you? What more do you want, a piece of paper to prove that you’re here? Don’t be silly.
Your room is all ready and waiting. Which one? Whichever one takes your fancy - though a lot of our guests like their privacy in order to create and exist. Creative energy manifests itself in strange ways sometimes, but who are we to judge?
Cost? No, no, put your magic plastic money card away - the hotel doesn’t want paid, it wants fed. Feed it’s soul with your art, and then in turn the soul of the hotel will feed you, and your art. It’s the great creative cycle; beautiful, isn’t it?
I don’t want to know how long you’re planning to stay either. Plans? They’re just embryonic spirits of future regrets. Live in the now, just be - and then you won’t have to worry about not being. You’re here now, and when you leave you’ll not be here. That’s all I need to know.
So go on, pick a place to stay, make it your own, and let the good vibes free to fertilize those seeds of something in your mind - they’re just waiting to grow into mighty trees of genius! ...But no plastic bags, please. They’re body bags for birds. Love & Good Vibes.
** Sherri Martini **
The Beat Hotel is a Class 13 hotel, meaning bottom of the barrel, a place that is required by law to meet only minimum health and safety standards. It’s run by Sherri Martini, a hippy who believes in free love and payment in trade rather than money, with a penchant for young Jim Morrison look-a-likes.
She hasn’t lost her goal of keeping it beatnik, with some of the residents from that time, some from the present, and even one or two from well before the 60’s. From Rusty Lane, the 101 year old burlesque dancer, through to Jim Fawndah, the resident gym instructor, from Beau Bronson, the slightly psychotic hotel janitor, to Klaus the taxidermist, there is a general air of madness and never a dull moment.
The bohemian clientele sometimes pay the rent with paintings or manuscripts & they can paint and decorate their rented rooms any way they want. Sherri makes sure you don’t forget the famous guests from back in the day including Allen Ginsberg & William Burroughs, who completed the text of Naked Lunch there.
But their little world is about to get invaded. BJ The Property Developer wants the land the hotel is situated on to build a super casino. His previous attempts using bullying lawyers and minor threats have failed, so now he’s sending in Alvin Feinstein, to gather ‘dirt’ on the place, to get it officially closed down. As a hotel inspector, and one of the best in the game, Alvin is disturbed from the first steps into the place, and is certain
that he will have one of the longest reports in his career at the end of his stay there.
As the weeks pass, The Beat Hotel casts it’s spell and Alvin falls in love with the place and it’s beautiful madness.
Will Alvin come clean? What will happen to the residents if they’re evicted? How can Alvin bear to look Sherri in the eyes and tell her what he’s been doing? Will BJ get his way?
The Beat Hotel is a music puppet show, a dark comedy set in a purpose-built hotel. The Beat Hotel’s unique aesthetic will make it stand out visually. Being a puppet drama, you can also be more adventurous with the characters & storylines, pushing more boundaries than you could with real people when scripting the episodes.
The Beat Hotel has a global market as it can be dubbed into any language with no issue over lip-sync, as the world is a puppet world. It showcases bands in a way that’s never been done before. The format of the show will be made up of episodic content, of the journey of the Beat Hotel, followed with the weekly performance played by puppet versions of ‘real world’ performing guests who will play the Beat Hotel ballroom.
Weekly cross-platform format :
• TV episode [The Beat Hotel characters]
• Episode ending [Band performance]
• Online interaction
• Mobile interaction
• Room rentals and engagement [Bands & UGC]
• Artwork creation
• Facebook game
What if the world you live in, everyone you believe in, everything you remember, isn’t real? What if yesterday you were someone else, in another life, in another universe? What if, tomorrow, it could
You can check out more details at http://www.e8experience.com
A white flash; ripples of light spreading out across the world ... and in that moment everything changes. And only 248 people have any inkling of what was going on. A brief flash at the edge of their vision ... and a memory of having been someone, somewhere else.
For Russian migrant worker Ekaterina, it’s the memory of being gunned down in a Russian airport, in a Russia that never existed. For German music student Heike, it’s a vast, complex musical composition that she must complete, and when it ends, everything changes. For New York Gulf War Veteran D.B. Lee, it’s images from another reality that turn up in his photographs.
Strange cars, airships, another, strange, dark, dystopian New York. When research scientist Aliette de Waal disappears after a key experiment at the Large Hadron Collider, ex-partner, physicist Elliot is drawn to investigate. Reluctant teammates, they uncover a terrifying secret. Our world, our lives, our thoughts, our memories, are not the real world. They came into being at the E8 Event, that flash that only a select few 248 people sensed. And these 248? They possess a rare, emergent genetic ability that makes them the most dangerous objects in the universe. For this did not happen randomly.
What makes Elliott a wayward genius is that he may just have devised a Theory of Everything. Using a mathematical concept known as E8, his theory states that the underlying structure of the universe is like a massive computer. Reality is the software running on it. Change the software ... and reality changes, and Aliette’s experiment was to test that theory. She succeeded too well. The LHC generated enough energy to burn through to underlying base code of reality. And something, or rather, someone, rewrote it.
Those 248 people, who saw something at the E8 Event, all share a genetic trait that allows their minds to interact with the basic structure of reality. They can change the world, and all our memories of it, for good or ill. They retain a faint, unreliable memory of what went before. Only one man remembers everything, the man who devised the scheme in another universe, Sam Lindwal, the current research director at the Large Hadron Collider. The world we live in is the world Sam Lindwal created. The world Ekaterina remembers, and D.B. Lee photographs, was that other world.
Lindwal’s trying to link that gifted 248 together again, starting with Heike, D.B. Lee and Ekaterina, to do it all again. Do it properly this time. Because unless he does, it will all snap back into the world it was. A nasty, polluted, oppressive, decaying dystopia. Our world may seem bad, but it’s heaven compared to that. Lindwal already has Aliette, the lynchpin, holed up in an anonymous cell at the LHC and he’s using her talents to search for the others.
The one Lindwall can’t get to is Elliot himself. He realises he’s one of the 248. Elliot can’t accept Lindwal’s plan to run another power spike through the LHC and rewrite reality again. It’s too dangerous a power.
But he can’t let the world, our world, snap back to being the way it was. It was hellish, and there’s a personal, very personal issue. He learns that, in that other world, he and Aliette were the same person.
If the world goes back, neither of them will ever have existed. He has an idea for another way, to change only one tiny detail, the ability of the 248 to change reality.
As the clock ticks down, it comes to a reality bending showdown between Lindwal and his insane idealism, and Elliot and his realism. Which will prevail? Will we wake up tomorrow in a totally different world, and remember this one as a fading dream?
Reality is not what you think it is ...
Ian McDonald (1960-) is one of the UK’s leading contemporary science-fiction novelists, living in Belfast. His themes include nanotechnology, postcyberpunk settings, and the impact of rapid social and technological change on non-Western societies.
McDonald was born in 1960, in Manchester, to a Scottish father and Irish mother, but moved to Belfast when he was five, and has lived there ever since. He therefore lived through the whole of the ‘Troubles’ (1968-99), and his sensibility has been permanently shaped by coming to understand Northern Ireland as a post-colonial (and so, in his view, de facto ‘Third World’) society imposed on an older culture. He became a fan of SF from childhood TV, began writing when he was 9, sold his first story to a local Belfast magazine when he was 22, and in 1987 became a full-time writer. He has also worked in TV consultancy within Northern Ireland, contributing scripts to the Northern Irish Sesame Workshop production Sesame Tree.
McDonald is known for his work set in developing nations. His 1990s ‘Chaga Saga’ is particularly notable for its analysis of the AIDS crisis in Africa. His 2004 River Of Gods is set in mid-twenty-first-century India, and his 2007 Brasyl (2007), set in the eighteenth and twenty-first centuries in Lusophone South America, was nominated for, and reached the longlist of, the £50,000 Warwick Prize For Writing.
Audiences will experience ‘E8’ along with the emotional response technology that Filmtrip have been researching. This technology will be used as part of the viewing experience of the film in certain interactive screenings & through the gameplay for a selection of players.
The use of the emotional response system means that the physiology of the audience will determine a series of audio video variations, so that each cinematic experience is unique.
Since the story of E8 is about unlocking the understanding of multiverses, and the fact that our characters have jumped across to another universe, and with the possibility of jumping again to others, this allows us to use the emotional response of the audience to generate different outcomes, path selections for characters ... as they will have been part of shifting to a new universe outcome.
The complexity comes in not loosing the audience in this process, and not becoming unfeasibly expensive from a production point of view. We have a number of solutions for this, from using audio & visual FX, to focusing the story in one universe, with flickers into other universes, so as to hinge the audience expectations & understanding on one set of rules.
Pure Grass Films is a leading cross platform entertainment producer. We create, produce and exploit our own intellectual properties, and work with third parties to provide digital and production services.
Ben Grass is Managing Director of Pure Grass Films, and Producer of Beyond the Rave and When Evil Calls and Executive Producer of Kirill. Ben previously headed Sony Pictures Digital Division in Europe, was previously Senior Advisor, Corporate Strategy at the BBC. Ben has five years strategy consulting experience, holds an MBA from INSEAD and an MA in Modern History from Oxford University.
No Mimes Media are partners, friends & experts at what they do, with an amazing network of associates everywhere.
Steve Peters has been a pioneering force in the Alternate Reailty Game/Cross-media Entertainment genre, Steve has worked on some of the biggest and most succesful interactive experiences to date, including ‘Why So Serious’ (for the feature film The Dark Knight), ‘Year Zero’ (for the Nine Inch Nails album of the same name), ‘The Vanishing Point’ and ‘Dead Man’s Tale’ (for Pirates of the caribbean ii : Dead Mans Chest).
He founded the Alternate Reality Gaming Network in 2002, has contributed to books and articles on the subject, and has been interviewed by everyone from G4-TV to WIRED to the Los Angeles times. Past projects have won multiple awards, including a Cannes Lions Grand Prix Award, One Show Entertainment Awards and Webby Awards.
Prior to co-founding No Mimes Media, Steve was Director of Experience Design at 42 Entertainment and founder of Vital Interactive Media, a multimedia production company that developed music and audio content for television, theater, and computer games/applications.
Behnam Karbassi has over 10 years of marketing, event & entertainment experience, producing innovative projects for top companies like Toyota, Warner Brothers and Sony. his interest in all things interactive began back in 1997, when he worked with up and coming record companies and music artists to produce one of the world’s first weekly live webcasting shows.
He then led teams at top ad agencies, like Saatchi & Saatchi, to develop interactive and brand departments, as well as spearheading several emerging technology industry firsts.
Before co-founding No Mimes Media, he was an essential part of the team at 42 Entertainment that created and produced the heralded alternate reality experiences ‘Why So Serious’ for The Dark Knight and ‘Project Abraham’ for Paystation 3’s Resistance : Fall Of Man game franchise.
Maureen McHugh is an award-wining science-fiction writer and became involved with interactive entertainment in 2001. In 2003 she was a writer and managing editor for ‘I Love Bees’ for ‘Halo 2’. Since then she has worked on ‘Why So Serious’ for The Dark Knight’ and ‘Year Zero’ among others.
We ran an ARG as part of the Belfast Cathedral Arts Quarter Festival. Within hours of advertising it was booked out…people want to play! Here is an overview of the game and a short video of the event.
Cyber terrorism is a premeditated, politically motivated attack against information, computer systems, computer programs, and data which result in violence against noncombatant targets by sub national groups or clandestine agents.
Belfast has been identified as the European hub for this electronic terrorism and these groups are covertly operating in and around the city.
Industry has got together and formed the equally clandestine and shady organisation ECTU (Electronic Counter Terrorism Unit), whose goal is to seek out the cyber terrorists, capture key operational people and extract information from them that can shut down the cyber crimes. ECTU thinks that the best way to track the cyber terrorists (CT’s) is not through electronic and information highways, but through a world the CT’s are not familiar with….the real world.
A new batch of potential ECTU agents have registered on line & will be provided with further details & a secret toolkit on arrival at the meeting placed ... further details to be released at a later date.
An alternate reality game (ARG), is an interactive narrative that uses the real world as a platform, often involving multiple media and game elements, to tell a story that may be affected by participants’ ideas or actions. Pervasive games eliminate many of the social, spatial and temporal boundaries usually associated with playing a game by intertwining game play with peoples’ everyday lives. Armed with their mobile phone or another portable device, participants can take part in treasure hunts for virtual objects in the real world, find new ways to explore and experience a city, arrange blind dates, act out role-playing scenarios or wage virtual battles with opponents via SMS messages.
“If we don’t end war, war will end us.”
Modern warfare; an infamous term for our present day conflicts, during which we send our young soldiers to fight in wars that only serve to line the pockets of the rich and powerful. This short music video deals with the issue of those who truly suffer in today’s high-tech conflicts where modern technology and communication methods tend to kill and maim the very people they are intended to protect.
The main concept that we will be using throughout this visual piece is Communication Warfare or Information Warfare. The music will have various elements throughout which are sympathetic to this idea.
The main idea will be to use lines of communication as the constant throughout the music. The camera will follow a grid of wires which will pause in certain areas to zoom in on action, whether that be missiles launching, computers in overdrive, soldiers on the phone, circuit board explorations, radar, interference etc.
The style will be very graphic using only black and white to signify the nature of war. This will also follow on from the style of artwork on www.30mins.org that Gareth & Daryl have been producing.
We feel that this is a particularly relevant subject matter, when there is an increasing uncertainty in the shape of our future world, and the conflicts that continue to go day after day on our planet, sometimes with our intervention, and sometimes without.
Gareth Morrison is a Lead Animator for games company Freestylegames, who released B-Boy & DJ Hero, and Daryl Campbell is a well-known Northern Irish illustrator & graphic designer : www.darylcampbell.com
A visual exploration of life and death - a young soul attempts to escape from a dreamlike state of euphoria before it turns into a nightmare.
As the music begins we fade slowly from black to see a locked-off view of a naked female figure lying face down on a white floor. Her hair is black and her skin is pale. She is motionless.
The floor is covered in a clear plastic. The plastic is slightly crumpled but it is clean and continuous throughout the entire area of the screen.
The camera remains at a high angle and is locked into position.
As the music begins to develop a single droplet of red paint drops down from behind the camera, onto the floor beside the woman, splashing onto the plastic surface.
In time to the music another droplet of paint, a different colour than before, splashes down onto floor below.
As the guitar starts in the song, another paint drop falls and the camera begins to move slowly, breaking away from its locked position but remaining at the same angle.
The camera rotates slowly as the song continues and more and more drops of paint begin to fall, raining down on the floor and also onto the skin of the female figure.
As the track unfolds so too does the imagery developing in stages - the camera continues to move slowly, the paint continues to falls and, the figure remains motionless getting more and more covered with the paint.
A final few drops of paint splash down on the girls skin as the camera comes to rest in the same position in which it started.
Both the pale figure and the entire white floor are now completely covered in colour.
A transparent figure emerges in double exposure from where the girl is situated and begins to rise up towards the camera. Its the same girl who looks into the camera and disappears.
The painted body remains on the painted plastic surface as a small black droplet splashes down onto it. This is the first time we have seen any paint that was coloured black.
Another droplet falls, this droplet is also black.
More black paint rains down on the girl and floor until the entire canvas is black, the girl blends into the surrounding area and virtually disappears.
Fade to black.
You can see more of Brian’s work at www.brianphilipdavis.com