Thursday, 1 December 2011

MASS / Henning M. Lederer

MASS ...a body of coherent matter, usually of indefinite shape and often of considerable size.
Song: Mass
Music: Vaetxh
Visuals: Henning M. Lederer
Visual Assistant: Charlotte J. Vogel
Label: King Deluxe

Wednesday, 30 November 2011

growing sounds / Fredrik Olofsson

sounds are bred and mutated with this simple step-sequencer. it uses genetic algorithms via the RedGA library. see for more info and sourcecode. and also for comments on this particular recording.
Fredrik Olofsson

Tuesday, 29 November 2011

VIDEODROME 2012 – Call for Submissions

Call for Submissions: VIDEODROME 2012 at The Museum of Contemporary Canadian Art
Now accepting submissions of A/V works under 5 mins.
Deadline: April 1st 2012

VIDEODROME is Toronto's foremost event for Visual Music and A/V culture since 2004. Visual Music is video and audio composition made from video edits, simultaneously video AND music where picture matches sound, cut for cut, beat for beat, rhythmic media work where sound and image are equally dominant. See examples here.

Based on the Cronenberg concept, VIDEODROME is an exercise in televisionary excess and sensory overload, video screening as party and vice-versa, in the words of dropFRAMEvideo: “bridging the gaps between the sofa, the club, and the gallery.”

Works must be complete and received by April 1st by post at 193 Augusta, Toronto, ON, M5T 2L4 Or posted to a file-sharing service such as SENDSPACE. Proposals for live performances or installations will also be considered.

VIDEODROME is administrated by Jubal Brown, dropFRAMEvideo, and Apocalypse Tomorrow.

Spring 2012, at The Museum of Contemporary Canadian Art in Toronto

More info on last years event here. Found at: Vague Terrain

vivarium - convulsions / chdh

convulsions is the 2nd piece of the vivarium album by chdh.

vivarium is a data/video DVD project based on chdh’s performance work. vivarium’s goal is to switch from a live expression form to written and composed pieces. Thanks to the use of mathematical algorithms and physical models, chdh brings a new vision on the practice of data-processing tools in digital creation. The use of audio-visual objects, having a sound and a video component controlled by the same parameters allows an effective management of the relations between the two medias. Each video track of vivarium is composed around a single physical modeling instrument, evolving from passivity to life, instability and mutation, in a slow and hypnotic time.

Friday, 25 November 2011

Pattern Recognition

Pattern Recognition is an animated graphical score created in tandem with the music through a finely tuned generative and performative process. Each shape has a dedicated relationship to its corresponding sound, much like notes written on a stave. Each tick, pulse and tone is represented within a labyrinth of grids as it plays with our ear to eye recognition.
Kamran Sadeghi

Found at: Music of Sound

Thursday, 24 November 2011

My Synesthesia Map: Grapheme-color synesthesia / Dee Adams

You can find the image at full size at Dee Adams' Flickr account.
I have a condition called Synesthesia that some define as a sort of autism or a condition where your brain experiences correspondences between sound, colour, letter or numbers. My particular case is one in which my brain maps certain colours to certain numbers and letters. Several famous artists both musical, visual arts, and even literary geniuses have documented cases or even written about their experiences. As a kid I had an incredibly difficult time being made to learn using those magnetic plastic letters and numbers. The colour of the plastic never properly corresponded to the right letter or number so I gave up using them as early learning devices.

I included the inversion of the colour map because interestingly enough, blue is a difficult color for me to work with whether in painting or design. It never ever looks quite right to me no matter how it is being used although I consider it a beautiful colour. The inversion has many more tones of blue than my original set.

To see a working version of how I see the world, check out this wonderful prototype my friend mroth built.
Dee Adams

Wednesday, 23 November 2011

Different expressions of the same inner nature

...that affinity at all is possible between a musical composition and a visual representation rests, as we have said, upon the fact that both are simply different expressions of the same inner nature of the world.
The World as Will and Idea
Arthur Schopenhauer

Rotary Signal Emitter / Sculpture

Sculpture is the London based duo of musician Dan Hayhurst and animator Reuben Sutherland. Rotary Signal Emitter LP is featured in an article by Matthew Ingram in The Wire 322, and is out on Dekorder.
Found at: venuspluton!com

Tuesday, 22 November 2011

Friday, 18 November 2011

Music, television and hyper-capitalism

"Viacom's property MTV has led this charge since inception in the 1980s, an identity-making machine which, although providing plenty of sounds and images offensive to the older generation, never operated as an organ for social upheaval as much as it acted as a non-stop advertising engine. Even during the 1990s wave of 'alternative' music led by Nirvana et al. the more activist, subversive opinions and statements of the musicians were reduced to clever asides, making the musicians seem like one-dimensional eccentrics with no real cohesive message or plan: 1990s 'alternative' music was, in many ways, as much of media distraction and pre-fabrication as The Monkees and other 'made-for-TV-hippies' were in the 1960s. More recently, MTV began offering its viewers a more brazen image of conspicuous consumption as the royal road to happiness. The 21st century's cast of MTV music stars have doubled as 'one-man brands' promoting hyper-capitalism – were once these artists existed solely to sell recorded music, they now exist to sell any item which can comfortably acommodate a logo."

Microbionic: Radical Electronic Music and Sound Art in the 21st Century
Thomas Bey William Bailey

complex composition #0 / Itaru Yasuda

Audiovisual study. All sound and graphics are generated in real time by supercollider. Special thanks to Fredrik Olofsson for this article.
Itaru Yasuda

Monday, 14 November 2011

Five years / Cinco años

I realised by chance that I published the first post of this blog on november 14th in 2006. So... Happy 5th anniversary!

Acabo de darme cuenta por casualidad de que publiqué el primer post de este blog el 14 de noviembre de 2006, así que... ¡Feliz quinto aniversario!

Permutations / John Whitney

John Whitney

Friday, 11 November 2011


Less a clip than a showreal/test for a plugin that i made in Quartz Composer. Realtime capture in VDMX.
Programation and motion: Hakr
Music: Hecq / Steeltongued, Hymen Records

Thursday, 10 November 2011

TeZ - PV868 [live in Montreal]

PV868 is an experimental creation and performance aimed at producing an audiovisual feed/stimulus which would allow a peculiar effect of moving visual patterns to emerge directly in the brain of the viewer. This stimulus is generated in real-time by a combination of flickering video, in the form of abstract lights and color gradients, coupled with synchronized synthetic sounds (binaural beats) diffused in a surround quadraphonic system.

Wednesday, 9 November 2011


This presentation is completely live. An artist adds various reagents in small portions to a chemical process to the fluid phase floating on the surface of a liquid. Thus, the color, shape, and texture of the fluid components are dynamically changed and create artistic abstraction. The process, transmitted through the web-camera, generates sound by given algorithm. The interaction of chemical components and milk creates a process of fractal nature. Solvation - enveloping the activesubstance of fat molecules in milk. Each process takes several minutes. A computer program captures the dynamics of the situation and creates LIQUID~DO

"LIQUID~DO" may be associated with LIBIDO in the context of energy deliberation from a liquid substance, the chemical process. The energy is interpreted by the sound. The potential of the liquid is represented by the sound. If in a human it is "sexual potential", then in a liquid it is different. We are interested in the nature of self-organization, both visual and audible, and the way these two areas interact with each other in a liquid system.
Julia Borovaya
Sound: Sergey Kasich
Programming: Vadim Smakhtin
Chemical Consultant: Mikhail Simunin (science deputy chairman of joung scientists community of MIET)

Tuesday, 8 November 2011

Between 0/1 2002 [3 screens version]

Between 0/1 is a process of unused data recuperation, a kind of numeric humus, of which he generates some resonant and visual textures. In this process of translation against nature he considers the computer garbage as an already existing audio visual potential, but unknown. (At the beginning their content are not makes nor to be seen nor to be hear.)

He works then to reveal them at the time of installation and performances as resonant and visual bursts, two synchronous revelations of common information. In this sense, his work can appear in a tradition of research on the link of the picture and the sound.
Nicolas Maigret

Sunday, 6 November 2011

Free Radicals

Lye reduces the medium to its most basic elements by scratching designs on black film. He used a variety of scribers ranging from dental tools to an ancient Native American arrowhead, and synchronized the images to traditional African music (a field tape of the Bagirmi tribe). The film won second prize in the International Experimental Film Competition, which was judged by Man Ray, Norman McLaren, Alexander Alexeiff and others at the 1958 World’s Fair in Brussels. In 1979 Lye further condensed the film by dropping a minute of footage. Stan Brakhage described the final version as “an almost unbelievably immense masterpiece (a brief epic).”
Harvard Film Archive
Len Lye

Saturday, 5 November 2011

Visual Music for Ten Voices

In Barthes’ essay, “The Grain of the Voice”, the concept of the “genosong” was evoked to separate the sound of the voice from its language. Visual Music for Ten Voices distinguishes the physicality of the optical vocal track as having a unique identity from its actual resonance in sound films. Designed as a 10-foot black box projection loop, this film focuses on the rhythm and materiality of ten 35mm optical soundtracks. Each musical passage maintains its original length and linear harmony with the other tracks, collectively creating a new sense of motion and repetition. This is a silent film.
Steven Woloshen

Friday, 4 November 2011


ANHARMONIUM is an immersive installation and performance, investigating the spatial awareness of subtle fluctuations that emerge from vibrational phenomena. The interference patterns within a sonically activated fluid illuminated by laser emissions forge an augmented meditative space, a psycho-physical observatory.

Wednesday, 2 November 2011

Hashima, Japan, 2002

The installation version of Hashima, by CM Von Hausswolff and Thomas Nordanstad. (For best sound experience, use headphones or stereo equipment).

This version was made initially for exhibitions in large rooms, and has been shown in museums, galleries, concert-halls etc. However, it seems as people enjoy watching these images, without explanation, voice over or narrative.
Thomas Nordanstad and Carl Michael von Hausswolff

Tuesday, 1 November 2011

PSY2 - Merzbow

PSY2 / Merzbow (track from the Thurston Moore Root project). Part of the Mimesis collaboration with Lo Recordings.
Donald Christie

Preserving Visual Music: The Archives of the Center for Visual Music

Lecture by archivist and curator Cindy Keefer, (Director of the Center of Visual Music, Los Angeles), introduced by Mark Rowan-Hull (Creative Arts Fellow). The Haldane Room at 6pm.

Cindy Keefer, archivist and curator, will discuss and screen work by pioneers of kinetic art and visual music from CVM’s archives. She will discuss Jordan Belson’s Vortex Concerts, the Oskar Fischinger legacy, CVM’s current preservation work, and “Raumlichtkunst,” the new nitrate to HD restoration of Fischinger’s 1920s multiple-projector cinema performances. Work presented from the archives will include Charles Dockum’s Mobilcolor Projector Performance, an early oscilloscope film by Mary Ellen Bute, and Fischinger’s Lumigraph. CVM is an archive dedicated to visual music and abstract cinema, which preserves and promotes films by Fischinger, Belson, Dockum, Bute, Jules Engel, The Whitney Brothers and others of the visual music tradition, plus artwork and historical documentation. CVM also curates contemporary work, consults for museum exhibitions, and distributes DVD compilations.

Place: Wolfson College, Oxford
Date/Time: 1 November 2011 - 6:00pm

More information

Monday, 31 October 2011

uni acronym

Alva Noto + Anne-James Chaton

Of Unsound Mind: The ghost, the pumpkin, the devil and the killer machine

When I'm in the shower, I'm afraid to wash my hair, because I might open my eyes and find someone standing there...

This is Halloween! This is Halloween! Pumpkins scream in the dead of night...

If there's something strange in your neighborhood, who you gonna call?

I saw something sitting on your bed, I saw something touching your head, in the room where you sleep... You better run!

I want your soul, I will eat your soul...

I don't know what I am, I don't know where I've been...

Welcome to my breakdown, I hope I didn't scare you, that's just the way we are when we come down...

There's a devil waiting outside your door... It is bucking and braying and pawing at the floor, and he's howling with pain and crawling up the walls...

Trick or treat: The Halloween Light Show

Sunday, 30 October 2011

20 Hz

This video by Semiconductor was made for the exhibition Campos invisibles: Geografías de las ondas de radio (Invisible fields: Geographies of radio waves), which right now is at Arts Santa Monica in Barcelona (the city where I live).
20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception.
Semiconductor are Ruth Jarman and Joe Gerhardt, an artist duo who explore the material nature of our world and how we experience it, questioning our place in the physical universe.

Saturday, 29 October 2011

Relational Wavespace: Mineral Crystals

"Relational Wavespace: Mineral Crystals" sonifies the molecular architecture of mineral crystals, creating suites of pure sonic tones that correspond to the resonant frequencies of specific atom groups. Pulling from a database of over 3500 mineral crystals, this video features rotating 3D visualizations of ajoite, almarudite, amicite, cobaltite, kasolite, pyroxene, quartz and turquoise, selected on the basis of their striking architecture and sonic potential. Each tone is derived from a function of the distance in nanometers between each highlighted atom, listed along the left of the frame. Part of solo exhibition "Dis/continuum" at Central Utah Art Center, May 2011 by Blake Carrington. (Note: this video was created specifically for full HD display and lacks fine details in this 960x540 version)
Blake Carrington

Friday, 28 October 2011

Thursday, 27 October 2011


Simple 3d artifact, slow motion, realtime sound (generated by the image). Preview and not preview. Quartz Composer + Ableton. Use your headphones.
pixel noizz

Tuesday, 25 October 2011


This synaesthetic, interactive musical experience provides six original modes in which the player may produce music. Kick off your shoes and get lost in a world of delicious sounding abstract geometry.
Bandwidth for Windows and Mac by Joshua Nimoy. This application was made in openFrameworks and is licensed under a Creative Commons Attribution - Non Commercial - Share Alike 3.0 Unported License, you can find the source code at GitHub.

Found at: Creative Applications Network

Sunday, 23 October 2011

Cat's Cradle [ R-re-repeat (+i-sound) ]

Just to show the shape I used in the previous clip, with a (massive) track from Alva Noto, "R-re-repeat (+i-sound)". As you can notice, it's asymmetrical: left and right audio channels. I love things that appear to be similar, but are not.

Saturday, 22 October 2011


Horizons is an interactive sound toy for the iPhone + iPad which brings together the atmospheric sounds of Eli Murray (Gentleforce) and generative visuals of Lukasz Karluk.
horizons at iTunes App Store

Friday, 21 October 2011

SurfCI - WIP

Basically a simple sound sample provides audio data that is used to affect the position of an image processing OpenCL kernel's image array output, the output of this rendering is fed into a Core Image filter, the animation of which is reacting to the audio peak information from the aforementioned sound file.

The kernel is presented with a simple step by step image sequence. All other animation is the result of the deformations with the OpenCL image processing and the subsequent CoreImage audio reactive animation, which incorporates and further deforms and animates the computed array.

Thursday, 20 October 2011

Parhelia [excerpt]

Video documentation of Parhelia - A real-time visual music performance piece made with VVVV.

A Parhelion (plural Parhelia, from "beside the sun", also called a 'Mock Sun') is an atmospheric phenomenon that creates bright spots of light in the sky, often on a luminous ring or halo on either side of the sun.
Paul Prudence

Wednesday, 19 October 2011


A demo about relationships in 23 bytes. Code by 4mat. Commodore 64.
Ate Bit

Found at: countercomplex

Tuesday, 18 October 2011

Music from very short programs - the 3rd iteration

Very short C programs and Javascript expressions generating musical output. This is the third video in the series.

Found at: Create Digital Music

Monday, 17 October 2011

Optical Machines interview

Optical Machines make a pure, authentic impression by combining their creations of sound (scapes) and visuals. Rather than (taking) a static position with flashy laptops they choose an open set-up which invites the audience to their laboratory-like playground. Their set-up contains an obscure variety of modified record players, pattern models, lamps, lenses, cameras and analogue synthesizers to make a both hypnotic and fascinating show. Optical Machines is a real live show with visuals and sound created on the spot!
Interview by Sensxperiment

Sunday, 16 October 2011


Connected is a graphical/musical sequencer system. a three way flow of information, between graphics, sound and external triggers shape the composition. Recorded in real-time.

Saturday, 15 October 2011

Geschlossene Kiste

Excerpt from a concert with Thomas Brinkmann at the Paradiso in Amsterdam. I took the labels of his records that he uses for his prepared locked grooves.
Karl Kliem

Friday, 14 October 2011


Made from pictures of branches, broken and scratched glass, and painted textures to create a preternatural furnace, with motion signatures that move with dissonant fluidity.
Michael Robinson

Thursday, 13 October 2011

Scanline Granular Synthesis

This is a live clip from a Max/MSP/Jitter patch. The patch uses a scanline from a video as a waveform for a granular synthesiser. This sound is then used to create NURBS in OpenGL which is then textured by the original video.
Dave Poulter

Tuesday, 11 October 2011

Synchronator interview

Synchronator is an audiovisual project by Bas van Koolwijk and Gert-Jan Prins, for which the artists have developed their own electronics. The project is a continuation on medium specific experiments between image and sound from the early years of video art.
Interview made by Sensxperiment

Monday, 10 October 2011

Sound-resonance in water

A few photos of my experiments I did with sound resonance in water. By generating specific frequencies and/or music and transmitting these vibrations into water, the surface of the water is set into resonance and creates various images from symmetrical structures to irregular patterns.
Danny Becher

Saturday, 8 October 2011

vinyl+ • Expanded Timecode Vinyl

vinyl+ is an interactive installation, experimenting with the expansion of timecode vinyl. Virtual objects are projected onto the surface of a white record and come to life when the record is played. Their behaviour changes depending on the rotational speed of the record as well as the position of the turntable‘s needle. The vinyl acts as the screen, interface and apparent carrier for generative audiovisual software pieces. The combination of turntable, computer and projector results in a new device, oscillating between analog and digital, hard- and software.
Jonas Bohatsch

Thursday, 6 October 2011


An audiovisual soundsculpture, reacting to the sound of Amon Tobin's Foleyroom, at Milwaukee Art Museum.

Animation and coding in After Affects with Mandelbulb3D.
Stilikon Design

Wednesday, 5 October 2011

Alva Noto & Ryuichi Sakamoto - Ax Mr. L

Visualisation for the Insen Tour of Alva Noto & Ryuichi Sakamoto in 2005 and 2006. This one i did within an hour when i had access to the complete LED screen for the first time. The tour had already started. When you would display just one colour on the whole screen you could see the edges of each LED module. So i just used these edges for the display of the lines.

Each stroke of a key on Sakamotos Yamaha Disklavier would send out a MIDI signal that would call a random preset of predefined patterns on the screen.
Karl Kliem

Sunday, 2 October 2011

Cornelius Cardew's Treatise - Realization

Electronic realization of Cornelius Cardew's graphic score, "Treatise". Sine waves are generated from the black areas of the score as it scrolls from right to left, with the y-axis corresponding to pitch. An imaginary vertical line in the center of the screen is the "sounding membrane".
Shawn Feeney

Found at: Music of Sound

Saturday, 1 October 2011


refreq is a radically customizable music player. I mean radically. You can load music files into it, or images (bitmaps, img-s, png-s). When you load a song, the program analyzes the track and draws its frequency spectrum. After the program has processed the file fed into it, you can convert the spectral image or bitmap back into music.

It is at this point that the project gets really interesting. Once you have the image of the track, it is just up to you what you do with it. You can play around with the timeline, or play the sound from another aspect. The track becomes totally transparent to you: not only can you see exactly where individual notes are, but the harmonies will also be visible to you.

Moreover, you can rotate the player, so that the notes will be the same, but the harmonies will be different.
Daniel Feles

Found at: Creative Applications Network

Tuesday, 27 September 2011

Curso de VDMX en Mad Center [Barcelona]

VDMX es uno de los programas más interesantes para trabajar con visuales en directo, especialmente si te interesa sincronizar el sonido con las imágenes, porque tiene varias funciones y herramientas que facilitan mucho el trabajo, tanto a la hora de sincronizar directamente a través de midi (con Ableton, por ejemplo) como si prefieres ajustar los visuales a ciertas frecuencias del espectro sonoro. No obstante, es un software que funciona por módulos y se puede adaptar a casi cualquier necesidad personal, así que es útil para otras muchas cosas.

No es un programa sobre el que se hagan muchos cursos, así que si os interesa esta puede ser una buena oportunidad para aprender a utilizarlo. El curso es en la escuela Mad Center de Barcelona y lo da Juanjo Fernández (Gnomalab). Empieza el 3 de octubre y todavía quedan algunas plazas, podéis encontrar más información en este link.

Monday, 19 September 2011

PUSS 3.3 - sinowave

Visualiser sound, I just recorded my sound work and the waveform from visualization plugin for Windows Media Player. That's the best and the most minimal digital audio visualizer i have seen.

Sunday, 18 September 2011

Liquid Lifeforms

Liquid Lifeforms is a short experiment in Cinema 4D softbody dynamics. Visuals were inspired and edited to the audio track Beazt, created by disconnectuser.

After countless commercial productions, where the result needs to feel pretty and appealing to the viewer, I felt an urge to create something a bit more disturbing. I wanted to approach the animation in the same way I would approach a live animatronic shoot. To achieve that, I constructed two rigid body robots, controlled by a bunch of randomized motors and set them lose in C4D’s dynamics engine. I then wrapped the resulting animation in a softbody, latex-like skin and run a second level simulation.

The process resulted in a creepy, realistic motion – part mechanical and part organic. I cut everything together in After Effects with some extra color correction and distortions. Enjoy!
Quba Michalski

Saturday, 17 September 2011

Pleasure's Unknown

During the recent stint I did making audio reactive visuals for the recent Peter Gabriel tour Marc Bessant suggested creating a 3d Battlezone style landscape from the audio loosely based on the Unknown Pleasures album artwork created by Peter Saville for Joy Division.

I figured it would only be a short step away to use a variation of the code to recreate the cover itself as an audio reactive piece. Turns out we're not the first to have thought this but hey, originality is overrated.

The song used is the first track from the album, Disorder.
Stefan Goodchild

Friday, 16 September 2011

Digital TV Dinner

Digital TV Dinner is a video art clip from 1979 created by Raul Zaritsky, Jamie Fenton, and Dick Ainsworth using the Bally Astrocade console game to generate unusual patterns.

The Bally Astrocade was unique among cartridge games in that it was designed to allow users to change game cartridges with power-on. When pressing the reset button, it was possible to remove the cartridge from the system and induce various memory dump pattern sequences. Digital TV Dinner is a collection of these curious states of silicon epilepsy set to music composed and generated upon this same platform.

DTV first appeared at an Electronic Visualization Festival in Chicago, and we hear the voice of Dr. Thomas Defanti introducing this item to the audience.
Found at: GlitchBlog

Thursday, 18 August 2011

Rectangle et rectangles

Rectangle et rectangles es una pieza de Réné Jodoin hecha en el año 1984. Se trata de un cortometraje de animación abstracta concebido en los albores de la era digital. Jodoin programó un ordenador para coordinar varias operaciones que incluían un haz de luz electrónico, filtros de colores y una cámara.

Aunque me fascina prácticamente cualquier cosa que entre dentro del género del flicker, la verdad es que a esto le cambiaría la banda sonora ya mismo.

El vídeo procede del archivo del National Film Board of Canada, que si no lo conocéis ya estáis tardando en visitarlo. Aparte de ser un archivo muy extenso, hay infinidad de piezas de todo tipo que se pueden ver online, como esta de Jodoin o muchas de las de Norman McLaren.

Encontrado en: Visual Music

Monday, 15 August 2011

Sea and Sun

Este vídeo es de un tema del álbum RundSkipper de MimiCof.

MimiCof es el proyecto más electrónico de Midori Hirano, una pianista japonesa que trabaja sobre todo con instrumentos tradicionales mezclados con toques digitales.

Encontrado en: Music of Sound

Thursday, 4 August 2011

Theo Burt

Colour Projections, Theo Burt. Publicado por Entr'acte.

Theo Burt es un artista británico que trabaja con vídeo y sonido. Hace unas semanas, Burt estuvo en el MACBA de Barcelona, dentro del ciclo Audiopantalla MACBA, presentando algunas de sus piezas, todas ellas enmarcadas dentro de lo que llamamos 'música visual'.

Hoy mismo RWM (Ràdio Web Macba) publica una entrevista con Burt (en inglés) en la que se habla sobre procesos perceptivos, música visual y arte intermedia.

Su obra explora las relaciones perceptivas entre el sonido y la imagen, así como el papel de la tecnología en el desarrollo de la estética. Sus proyectos recientes se han centrado en el uso de audio y vídeo interrelacionados para ensalzar la transparencia de los procesos de sus piezas, y en el efecto de la previsibilidad parcial sobre la percepción del tiempo. –RWM

El trabajo de Burt es bastante minimalista, en general centrado simplemente en formas geométricas, colores y sonidos abstractos. En Internet no encontraréis muchos vídeos suyos, pero si os interesa, Entr'acte editó un DVD (10 euros, gastos de envío incluídos) hace un par de años con sus Colour Projections, que es precisamente una de las tres piezas que se pudieron ver/escuchar en el MACBA, y de la que forma parte el vídeo que abre este post.

Tuesday, 2 August 2011

Colour Organ

Colour Organ es una instalación de Tyler Adams inspirada en la relación entre el sonido y el color. Hay sonidos, como el ruido blanco y el rosa, que reciben esos nombres por analogía con el espectro lumínico, y esta pieza utiliza esa base para generar sonidos que responden al color proyectado en el espacio. La luz va cambiado lentamente de tono, y el espectador puede escuchar cómo suena cada color.

La intalación funciona con un programa que mapea las frecuencias del espectro de color RGB y las traduce a frecuencias sonoras. El cambio de color y sonido es tan lento y sutil que engaña a la percepción, y al cabo de un rato se empiezan a escuchar patrones, o incluso música, cuando en realidad no existen.

Tyler Adams es un artista afincado en Los Ángeles que trabaja sobre todo en torno a las relaciones entre sonido, luz y espacio, prestando especial atención al tema de la percepción.

Monday, 1 August 2011


Field es una aplicación creada por Rainer Kohlberger, con sonido de Wilm Thobe, que genera piezas abstractas a partir de las imágenes capturadas por la cámara del iPhone, el iPad y el iPod Touch. El brillo, la saturación y el color del vídeo son traducidos a un patrón geométrico de colores, y las imágenes van disparando diferentes sonidos.

In this app, the iPads camera reacts to light and colors in the environment and translates them in an aesthetic way in tones, sounds, and geometrical patterns. Formally speaking, Kohlberger draws on concrete art. The term concrete art was first coined in 1924 by Dutch painter, Theo van Doesburg, before being programmat- ically defined a few years later, in 1930, in the founding manifesto of the group Art Concrete for a direction in art the ideal foundation of which was anchored in mathematics and geometry. It is not “abstract” in the proper sense since it does not extract from what already exists in material reality; on the contrary, it rather materializes intellectual content, possessing no symbolic significance, and is more or less generated from geometrical con- struction.

During the 1960s, Op-Art and Kinetics artists made the logical step of also generating the mathematical foundation purely by programming: in other words, to have the works generate themselves according to an algorithm. With Rainer Kohlberger’s app, a further step has been taken: external influences, such as real light and real movement become part of the algorithm, and extend the geometric and acoustic input in endless variations.

Como no tengo iPhone, etc. no lo he visto en funcionamiento y no sé si realmente será tan interesante como parece. Si a alguien le apetece probarlo, está a la venta en la App Store de Apple por 1'59 euros.

Sunday, 31 July 2011

LIBRO /// Flips 5: Music vs Motion

Flips es una revista de diseño en formato libro de la que creo que se publicaron al menos ocho números monográficos sobre diferentes temas (animación, gráficos 3D, ídolos virtuales, etc.). Actualmente diría que ya no se publica porque la web ya no existe, pero se puede encontrar en IdN Proshop.

El número 5, titulado Flips 5: Music vs Motion, se dedicó al tema de las relaciones entre música y movimiento. No se trata de un libro sobre música visual, se centra exclusivamente en diseño y publicidad –hasta tal punto que en el DVD en algunos videoclips no se incluye el nombre del grupo, sólo el del estudio que lo hizo. A mí personalmente el diseño y la publicidad no me interesan, pero si os atrae la parte más comercial del mundo creativo seguro que le encontráis mucho más atractivo que yo.

Se editó en 2001, así que a estas alturas quizás funciona más como catálogo arqueológico que como muestra de lo que se está haciendo en la industria. En cualquier caso, son 300 páginas a todo color con entrevistas a estudios como Airside y Barnbrook, e incluye un DVD con decenas de vídeos (básicamente videoclips y anuncios). Algunas de las piezas incluidas me parecen muy comerciales y prescindibles, pero hay otras a las que encuentro cierto atractivo, especialmente en el apartado dedicado a vídeos musicales. Por mencionar algunas que se pueden ver online, nombraría los videoclips Golden Shower: Video Computer System y Ural 13 Diktators: Name of the Game, ambos de Lobo.

Wednesday, 20 July 2011

Seeing Sound 2 [29th/30th October 2011, Bath]

Following the success of the first Seeing Sound event in 2009, Bath Spa University (UK) will once again host an informal two-day symposium exploring multimedia work which foregrounds the relationship between sound and image.

We aim to explore areas such as visual music, abstract cinema, experimental animation, audiovisual performance and installation work through paper sessions, screenings and performances.

This year will see a focus on direct sound - the generation of sound and music from visual material (by various techniques including images drawn or photographed on an optical film soundtrack drawing directly on to an optical film soundtrack for example). This practice is almost as old as sound cinema itself and has influenced the development of both electronic music and abstract cinema/visual music.

We will explore this theme with the help of input from four key speakers (brief biography outlines below):

Mick Grierson will be discussing the exhibition of Daphne Oram's Oramics machine at London's Science Museum, including the impact of co-curated contributions from experimental audio/visual artists, ex-BBC radiophonics workshop personnel and EMS staff, through the lens of his research around audiovisual perception.

Cindy Keefer, director of the Center for Visual Music, will discuss Oskar Fischinger's 1932 Ornament Sound experiments and his influence on Visual Music.

Volker Straebel will discuss composition and production of synthesized sound in John and James Whitney's "Five Film Exercises" (1943/44).

Andrey Smirnov will present an overview of censored and lost sound experiments in Russia, 1910 to the 1930s including Graphical Sound, Noise Orchestras and related sound machines with music and video examples.

A call for papers and creative works will be published soon.

Mick Grierson is Director of Creative Computing at Goldsmiths College, and Director of the Daphne Oram Collection.

Cindy Keefer has taught, curated, lectured and published on Visual Music and Oskar Fischinger internationally. She has preserved dozens of historical visual music films by Fischinger, Belson, the Whitneys, Dockum, Bute and others; currently she is co-curating an upcoming traveling Fischinger museum exhibition.

Volker Straebel is a musicologist focusing on electro-acoustic music, the American and European avant-garde, intermedia, performance and sound art. He is co-director of the Electronic Music Studio at Technische Universität Berlin and currently a fellow at the Research Focus Media Convergence at Johannes Gutenberg-Universität Mainz. Furthermore, he is curatorial adviser to contemporary music festival MaerzMusik and has realized and performed indeterminate works by John Cage and himself.

Andrey Smirnov is an interdisciplinary artist, composer, engineer, researcher and developer of electronic music techniques, author, curator, educator. He is a founding director and the Senior Lecturer of the Theremin Center for Electroacoustic Music at Moscow Tchaikovsky Conservatoire. He is collecting and keeping unique archives on the history of Audio Computing and Music Technology in the early 20th century Russia as well as a collection of original historical electronic musical instruments.

Wednesday, 13 July 2011

Russell Haswell @ Snape

Russell Haswell performed modular sythesiser, with real-time stereo/phase scope metering, at the opening of the festival exhibition: SNAPE.
Russell Haswell es una de esas personas que estaría en mi corta lista de gente que hace cosas sublimes. Este vídeo es un fragmento de una actuación en el Aldeburgh Snape Maltings Concert House.

Tuesday, 12 July 2011

Tresnak::Tools:: {00} [ Audio y video en tiempo real ] (Donostia)

Las jornadas de aprendizaje Tresnak::Tools abordan mediante sesiones introductorias el acercamiento a nuevas tecnologías, para su posterior aplicación al ámbito creativo. En estas sesiones se realizan pequeñas introducciones a distintas herramientas tanto de software como de hardware: un acercamiento a una tecnología concreta, ideal para aquellas personas sin conocimientos previos.

La primera sesión, que tendrá lugar el 21 y 22 de julio, estará dedicada al audio y video en tiempo real. Se presentarán VVVV y Open Frameworks en dos sesiones diferenciadas.

VVVV es un entorno visual de programación, ideal para prototipado rápido y desarrollo. Se utiliza principalmente para gráficos, audio y video en tiempo real e interactivos. En el curso se enseñará cómo crear entornos interactivos multimedia a través de interfaces físicas y salidas diversas.

Openframeworks es una librería de C/C++ diseñada para ayudar al proceso creativo, proporcionando un marco sencillo e intuitivo para la experimentación. Está especialmente pensado para artistas y diseñadores. Durante el curso se hará una introducción a la librería Openframeworks y se explicarán diversas técnicas para la creación de prototipos, principalmente relacionados con la interacción.

VVVV entorno visual de programación

Jueves 21 de Julio
11:00 Bienvenida, desayuno, introducción a Tresnak::Tools
11:30 12:15 Muestra de proyectos realizados en VVVV*
12:00 13:30 Install Lunch*
16:00 20:00 Sesión introductoria a VVVV - Patxi Araujo

Viernes 22 de Julio
11:00 12:00 Muestra de proyectos realizados en Open Frameworks*
12:00 13:00 Install Lunch*
16:00 20:00 Sesión introductoria a Open Frameworks - Karlos g Liberal

* La asistencia a las muestras de proyectos y sesiones de instalación no es imprescindible, pero si recomendable

Patxi Araujo es artista y profesor del Departamento de Arte y Tecnología de la Facultad de Bellas Artes de la UPV/EHU. Trabaja e investiga acerca del uso de las nuevas tecnologías y sus poéticas en relación a los discursos artísticos.

Karlos g Liberal (Patxangas) Cyberpunk de espíritu cree que en el código se puede encontrar la “belleza” Miembro del colectivo de experimentación electrónica Teknotrakitana y socio fundador de la cooperativa Investic con mas de 12 años de experiencia trabajando con tecnologías web.

Es imprescindible que cada participante traiga su propio equipo informático.

Más información

Monday, 11 July 2011

incite/ live @ WRO11 - concert and interview

A incite/ los vi una vez en directo y me gustaron bastante. Esto es un fragmento de su concierto en la Bienal de media art de Breslavia (Polonia) el pasado mes de junio, con una pequeña entrevista.

Saturday, 9 July 2011

Talysis II

Talysis II (2006) was the first in a series of artworks exploring the process of video feedback to create auto-catalytic self-generating artworks. Orginally comissioned for Art.ficial 3.0, São Paulo, 2006

Mimicking the classic analogue video feedback process, this software simulation creates complexity from an economy of means. A simple shape is passed around a circuit of renderers. Transformations of the shape are applied to its conveyance around the loop resulting in a multitude of feedback species, geometric tessellated formations, that transform and reconfigure over time.

The strict symmetries, quasi-hyperbolic surfaces and parabolic forms generated from this machine monologue allude to the works from Perceptual and Op-Artist movements of the 60’s.
Paul Prudence

Thursday, 7 July 2011

Les Objets Impossibles - Objet 1 (excerpt)

A live audiovisual concert in two parts, realized in collaboration with Arcadi, IRCAM, Ensemble Intercontemporain and Dmitri Kourliandski.

We created a realtime sound-reactive software to visualize the two pieces composed by Dmitri Kourliandski and performed by the Ensemble Intercontemporain.
IRCAM used 24 microphones to get a separated audio signal from each instrument of the ensemble.

Thomas Goepfer created a software which analyzes each signal and extract the sound information; the resulting data are sent to our software and used to animate the elements of the visual composition.

We interact in realtime controlling several parameters of the visuals and directing the camera movements.

We emphasized the strong dynamic and timbric contrast between the two musical compositions by finding different kinetic and material properties for the two visual counterparts.

The monolithic structure of the pieces lends itself to an architectural / sculptural representation, in which the elements are animated and recombined changing the general order but still maintaining the global identity of the work.

The observer is forced / led to change the point of view, explore the object discovering its different aspects and find out that in breaking the perceptual scheme lies the possibility of a new vision.
Abstract Birds

Wednesday, 6 July 2011

Perforaciones - Perforations

Cinema made out of the minimum and essential: light, its projection and a violated media (black film obtained from processing unexposed colour footage). After "Cada cuatro fotogramas" (Every four frames), the approach to 'negative' filmmaking continues, building by demolition, the film showing us what survives the physical removal of any of its parts. The image is made of points of light on the verge of disintegration, holes that pierce a surface, the celluloid, giving us a compulsive drip of frayed forms that will make us think of the outbreak of the screen. The sounds of Mattin, cracked, shrill, lacerating trebles, stick to the images with a maximum relevance. From the very first frame, the movie's head-on approach avoids complacencies of any kind with the viewer, forcing him to question his sight and earing resistances.
Alberto Cabrera Bernal

Tuesday, 5 July 2011

Arthritis Sonations (Cymatics)

Three Sonations used at Steamboat Healing Center in the treatment of Arthritic conditions, i.e. "General," "Degenerative," and "Rheumatoid." Numerous other Sonations for Arthritis are also employed in Sonatherapy at the Nevada facility.

For those with Arthritis in the hands it is helpful to hold the speakers in the palms. Volume may be adjusted. The visual images serve as a guide for directing vibrations where needed.
Via: #cymatics news

Saturday, 25 June 2011

Animismo Computazionale

Prompted by the animistic philosophy that ascribes to all objects a soul and spirit full of divine qualities, thanks to claim of the literature and nowadays reality about the artificial intelligence, moves the pretension of the computational machine to get a kind of "personal autonomy."

It 's our existence (life), feelings, dealings and work to make this implement an essential feedstock and main needfulness, as bringing until his impersonation and divinization as a kind of electronic - soul.
This project rather than continue the process of vivify the computational linguistics, gabbling is own language convey the machine to a induced and helix death: the system's crash.

Across the persist amount and evaluation of binary codes creates audio frequencies and through the same analysis, create life to lines of colors that mark the border between the soul (human being) and the machine ,but at the same time and through the same life process, with the increase and excessive data processing of the central data unit till the system death.So the whole system is in shutdown.

No audio samples were used,sequenced,equalized or any kind of post processing applied.

Audio and Video were live recorded with a Panasonic NV-GS 400.

Friday, 24 June 2011

Curso online de VJ y Live Cinema

En este curso se mostrarán los elementos básicos de la producción de video en vivo (VJ / Live Cinema) orientado al arte contemporáneo, haciendo una revisión sobre el estado actual de la escena audiovisual.

Duración: 5 semanas, del 11 de Julio al 15 de Agosto 2011.
Inicio de curso: 11 de Julio 2011
Fecha límite de inscripción: 5 de Julio de 2011
Precio: €195
Cupo limitado a 16 personas
Profesor: Roberto Cárdenas

Más información

Wednesday, 22 June 2011


Schreischrift es una instalación de Alexander Graf que genera tipografías a partir de la voz. Simplemente tienes que pegar un grito, cuanto más largo y alto mejor, y después se va generando un alfabeto que depende de la duración, intensidad, volumen y frecuencia de tu voz. El grito genera una fuente tipográfica completa que luego se puede descargar de Internet.

En la web del proyecto hay algunos vídeos en los que se ve más o menos cómo funciona el asunto.

Saturday, 18 June 2011

Signing Alphabet

Un alfabeto animado de Barrio Sésamo de 1977. La animación es de Steve Finkin y la voz de Joan La Barbara, de aquellos tiempos en los que los programas infantiles se cruzaban con la cultura contemporánea. Estas cosas ya no pasan en la tele, ¿no?

Tuesday, 14 June 2011

Castel, el clavecín ocular o cómo ver la música

Alguien me ha dejado amablemente en un comentario un link a este interesante texto de Ana Mª del Valle Collado centrado principalmente en el clavecín ocular, aunque menciona otros temas varios relacionados con la música visual:

Ésta es la historia de un hombre con una idea: la de plasmar la música en forma de color. Cuando el jesuita francés Louis Bertrand Castel (1688-1757) se internó en la aventura del que él mismo denominaría “clavecin pour les yeux”, no sabía las dificultades –sobretodo económicas– con las que se iba a encontrar, pero tan convencido estaba de su proyecto, que pasaría más de 30 años de su vida dedicado casi en exclusiva a su construcción, aunque probablemente moriría sin haber conseguido crear un modelo que le satisficiera.

Texto completo en Jugar con fuego

Tuesday, 31 May 2011


es un juego de carreras de coches en el que la pista se genera a partir del análisis del espectro sonoro de cualquier archivo de sonido (mp3, ogg, wav o flac). Tú eliges cualquier canción que tengas en el ordenador, y el juego genera una pista única.

En el año 4600, la federación musicracer es una de las federaciones de carreras más famosas de toda la galaxia. Las pistas se crean en base al análisis sonoro de música antigua de culturas desaparecidas hace tiempo.

Existe tanto para Mac como para PC y se puede descargar gratis aquí.

Pianola Citymusic

Una especie de pianola que genera música físicamente a partir de un plano de una ciudad esculpido en el rollo que activa las teclas.

Akko Goldenbeld


Max Hattler

Pencil Music #4

Igual que existen muchas piezas visuales que se generan a partir de archivos de sonido, también existen piezas sonoras que se generan a partir de imágenes. En este caso, los sonidos se crearon dibujando en Soundforge.

Can we make a music piece by drawing its waveform free-hand? In this work, we used only Pencil tool, Copy, Paste and Reverse functionalities from the Soundforge software. No effects and no sound processing were used. The sounds are left as is - drawn with the pencil, with all the glitches and cuts that emerged as side effects.

No he encontrado en ninguna parte el archivo para incrustarlo, pero si os apetece escuchar que salió de esta idea lo podéis encontrar aquí, en el tercer enlace de la columna del centro (A. Andric & I. Vasiljev).

Andreja Andric y Igor Vasiljev

Monday, 30 May 2011

Overtone singing with X-ray (extract of INLAND)

Performer Christian Zehnder expose his singing to X-Rays. Image made with the Dept. of Radiology at the CHUV Lausanne. Extract from the material of INLAND, a film by Pierre-Yves Borgeaud with Stimmhorn (2002). Production: SF / SSR idée Suisse, momentum production. DVD available on

No he visto la película en cuestión, pero al parecer es una especie de documental sin palabras ni comentarios que utiliza sonidos e imágenes para representar lo visible y lo audible.

Geometría de círculos, Barrio Sésamo y Philip Glass

Animaciones de Barrio Sésamo. Al parecer, a finales de los años 70, los creadores de este programa infantil encargaron a Philip Glass música para una serie de cuatro piezas titulada Geometry of Circles.

Vía: Brain Pickings

Saturday, 28 May 2011


Una pieza generada en tiempo real con el software vvvv. La idea era mostrar cómo las coincidencias geométricas cambian nuestra percepción de la composición musical.

Arístides García

Friday, 27 May 2011

Simple Harmonic Motion

Una representación gráfica de cómo sonarían una serie de péndulos en movimiento. Se hizo con Processing, enviando el sonido a través de midi con Ableton Live. Podéis encontrar el código de Processing en este enlace.

Memo Akten

Thursday, 26 May 2011

Wednesday, 25 May 2011

Friday, 20 May 2011

Prepared Multislider

V4W.ENKO es un proyecto audiovisual de Ucrania centrado especialmente en la manipulación de algoritmos en tiempo real. El responsable se llama Eugen Vashchenko y no es la primera vez que publico algún vídeo suyo, porque la verdad es que tiene cosas que me gustan bastante. En su página web no hay mucha información, pero si os interesa en su cuenta de vimeo podéis encontrar muchos más vídeos.


Thursday, 19 May 2011


La música visual y lo abstracto también pueden ser políticos, como casi todo en esta vida. Creo que esta pieza se entiende sin necesidad de dar explicaciones, y en cualquier caso yo soy de no dar muchas explicaciones, simplemente porque creo que el espectador debe sacar sus propias conclusiones, no absorber las de otro.

Max Hattler

Tuesday, 17 May 2011

Compressed 01

Esta pieza no es generativa, se trata de partículas ferrosas de toner de impresora flotando en la superficie del agua y manipuladas con un imán. La imagen ni siquiera es vídeo, son fotografías hechas con un macro y un intervalómetro y montadas en Premiere.

No suelo publicar muchos vídeos de imagen real, y que conste que aunque en general me atrae más lo abstracto que lo figurativo, no tengo nada en contra de la 'realidad'. En cualquier caso, lo cierto es que en la música visual actual se suele tirar más de elementos digitales y generativos que de montajes de vídeo, así que es agradable encontrar de vez en cuando a gente que le da por experimentar con algo más táctil.

Kim Pimmel

Monday, 16 May 2011

An Eyeful of Sound

An Eyeful of Sound es un documental animado sobre la sinestesia audiovisual. La gente sinestésica entremezcla sensaciones procedentes de diferentes sentidos, asociando colores a los días de la semana o sonidos a los olores, por ejemplo. Para más información sobre el tema podéis ver este especial de Redes.

Vía: Brain Pickings.

Sunday, 15 May 2011

Notations 21

Notations 21 es un libro centrado en cómo visualizan los compositores y músicos sus composiciones a través de métodos de notación poco habituales. El proyecto no es simplemente un libro, se trata de todo un estudio que incluye desde organizaciones de eventos en torno al tema hasta un blog.

Vía: Brain Pickings

Saturday, 14 May 2011

Wired: Heard of Visual Music? This Is What It Looks Like

En Wired publicaban hacen un par de días un artículo sobre Paul Prudence, de quien he hablado en más de una ocasión por aquí.

Todo mi trabajo está pensado para realizarse en directo. Los visuales son diferentes en cada concierto. Los algoritmos funcionan de tal manera que cada actuación es única: un sonido diferente cambia el resultado.

El artículo y la pequeña entrevista que le hacen a Prudence están bien, pero lo más curioso son los tres o cuatro comentarios del final, que sacan a relucir que ni siquiera un público supuestamente interesado en estos temas, como el de Wired, entiende ni la mitad... Reflexiono un poco más sobre esto en ./mediateletipos))).

Thursday, 12 May 2011

Rynth[n4] Edit

Este vídeo es un fragmento de una performance audiovisual en la que se analiza el sonido en tiempo real para generar transformaciones y deformaciones de primitivas gemétricas.

Paul Prudence

Wednesday, 11 May 2011

Call: IV Mostra Live Cinema

La IV Mostra Live Cinema (mLC 2011) es una muestra expositiva de performances audiovisuales, live cinema y cualquier otro tipo de manifestación que utilice elementos audiovisuales manipulados en tiempo real. Se celebra en Río de Janeiro del 1 al 4 de septiembre de 2011.

Aceptan trabajos de cualquier rincón del mundo, en un principio de un máximo de 30 minutos, pero están abiertos a todo tipo de propuestas, y pagan tanto el viaje y el alojamiento como la actuación en sí. El plazo para presentarse se cierra el 1 de julio.

Más información y bases completas

Mono-ke (test)

Un experimento de visualización de sonido hecho con OpenFrameworks. En este vídeo todo reacciona al sonido, incluso la edición. El tema es Linear de Monolake.

Antes de hacer el experimento, el autor realizó algunas pruebas convirtiendo las ondas de sonido a imagen para poder visualizar la música. Estas imágenes no fueron usadas para el vídeo, pero en cualquier caso son otra manifestación de las relaciones entre imagen y sonido que tanto me fascinan.

rew(1) de Autechre:


Tuesday, 10 May 2011


Existen muchas artes, ¡pero contar con la de la paciencia puede con todas! Este vídeo no es 3D, como pueda parecer en un primer momento a simple vista, es una animación stop motion hecha con bloques de colores.

Director: Rogier van der Zwaag.
Música: Grindin' de Nobody Beats The Drum.

Sunday, 8 May 2011

A Brief Introduction to Synthesis

Un catálogo de ondas hecho con un sintetizador analógico modular casero: sierra, triángulo, senoidal...

Saturday, 7 May 2011

Perceptio (fragmento)

Perceptio es un concierto audiovisual que investiga el estado de nuestra percepción frente a la polución y el cambio climático en un contexto local. La pieza combina imagen real y generativa, música y sonidos. Todas las partes de imagen real y las grabaciones de campo utilizadas son de la ciudad de Singapur.


Friday, 6 May 2011

Minus Two

Un pequeña representación visual basada en un fragmento de un tema del grupo Broadcast. Está hecho con un escáner y objetos domésticos varios encontrados por la casa.

A Little Bit Of Stimpathy

Thursday, 5 May 2011


Monocodes es una pieza del año 2000 de Alex Rutterford, el creador del famoso vídeo de Autechre Gantz Graf.

Rutterford estudió diseño gráfico y trabaja en Lost in Space, un estudio de diseño, animación y creación de efectos visuales.

Wednesday, 4 May 2011

Kraftwerk P-b-M

Kraftwerk P-b-M es un experimento en conversión digital, o lo que se suele llamar 'data bending'. La idea es explorar los efectos sinestésicos de los procesos generativos digitales.

La pieza se basa en fragmentos ligeramente modificados de temas de Kraftwerk, convertidos en vídeo utilizando un software creado especialmente para ello, y luego convertidos otra vez en sonido usando el mismo proceso.

No hay ningún tipo de transformación ni se trata de una sonificación de datos, el software se limita a copiar los datos de un archivo y a crear otro nuevo simplemente añadiendo los atributos necesarios para que pueda abrirse en otro formato.

Dejan Grba

Tuesday, 3 May 2011

Portrait of Tracy

A estas alturas no queda mucha gente trabajando con música visual en cine, sobre todo porque es un proceso mucho más caro y complejo que el digital. Esta es una interpretación visual cinematográfica de un tema de Jaco Pastorius titulado Portrait of Tracy.

La pieza se creó usando exclusivamente técnicas analógicas, rascando la película de 16mm con una aguja y coloreándola con rotuladores. La música se editó cortando y pegando cinta magnética y sincronizándola con los visuales en una mesa de montaje antigua de bobinas.

Scott Balles

Monday, 2 May 2011


Una visualización musical que parte del pentagrama para intentar mostrar la música relacionándola con formas y colores.

Michela Grisi

Sunday, 1 May 2011


Otro experimento en torno a la sinestesia. En este caso, tenemos la cara del autor grabada por la cámara del ordenador y luego convertida en sonido. El sonido es capturado por el micrófono interno de otro ordenador colocado en la misma habitación, que intenta recrear la imagen original, pero para ello usa todo el sonido que está grabando en la habitación, incluyendo la voz del autor, que se escucha en el vídeo, de ahí las distorsiones.

Podríamos decir que se trata de básicamente de un experimento de reconstrucción.

Adam Rokhsar

Saturday, 30 April 2011

Synaesthesia Experiment

Un pequeño experimento de música visual basado en lo que se suele llamar 'pintar con luz' —una técnica fotográfica que consiste en 'dibujar' formas en el espacio con una linterna.

Andrew Maylin

Friday, 29 April 2011

Pathline #1 [promo edit]

Un fragmento de una performance audiovisual basada en ruidos digitales, paisajes sonoros y gráficos generativos.

Franz Rosati

Thursday, 28 April 2011

Pure Data read as pure data

El contenido de la aplicación Pure Data traduciendo los datos a sonido y píxeles, un viaje al código binario y sus cualidades ocultas: estructura, lógica, ritmo, redundancia, composición...

Nicolas Maigret

Wednesday, 27 April 2011

In Heaven Everything Is Fine

Creo que esto no necesita muchas presentaciones. Es uno de mis momentos preferidos de todas las películas de David Lynch, de Cabeza borradora, y resulta que es precisamente la única escena de sus películas que tiene colgada en su vimeo.

Monday, 25 April 2011

Naisu no mori: The First Contact

Este es un fragmento de una película japonesa titulada Naisu no mori: The First Contact que no he visto, pero así fuera de contexto la verdad es que funciona perfectamente. De hecho, de entrada al verlo pensé que era un videoclip de algún grupo o algún tipo de pieza experimental...

Tuesday, 19 April 2011

Call for papers and works: Understanding Visual Music

A two-day conference focused on developing an understanding of the practice of visual music, its definition, related creative and perceptual considerations, current trends, technological innovation, and possible future directions.

The event will take place on Friday the 26th and Saturday the 27th of August 2011 and will include paper sessions, roundtable discussions, and creative works presentations.

We are inviting researchers to present studies that address visual music’s multiple definitions and dimensions, questions around visual music aesthetics and meaning, hierarchy and correlation of sound and image in this context, and the audience’s perception thereof. Artists are also invited to propose visual music presentations – both live and fixed. Attendance is required in both cases.


Paper presentation: please send in the body of an email: [1] an abstract (250 words or less) and [2] a short biography ready for printing (250 words or less). Additionally [3] attach a 3-page CV as a PDF file.

Visual music presentation: please include in the body of an email: [1] the title of your piece, duration, indication whether the presentation will be live or fixed, [2] a short description of the proposed piece (250 words or less), [3] a short biography ready for printing (250 words or less), and [4] detailed technical needs. Also include [5] links to audiovisual sample material hosted in a non-expiring URL (for this reason, please do not send your audio-visual material using yousendit or any similar applications, and do NOT send your audio-visual material by email) and [6] attach a 3-page CV as a PDF file.


Paper presentations: each paper will be presented in person by the author for approx. 20 minutes followed by 5-10 minutes of discussion.

Visual music presentations: creative works presentations will take place between paper sessions throughout the day and in a visual music show that will conclude the colloquium.

Roundtable discussion[s]: an hour-long open discussion on key issues related to the main theme of the colloquium.

Deadline for reception of proposals: June 18th, 2011

Email: uvm2011.concordia [at] gmail [dot] com

(the UVM2011 web site will be online in a few weeks)