MASS ...a body of coherent matter, usually of indefinite shape and often of considerable size.Song: Mass
Visuals: Henning M. Lederer
Visual Assistant: Charlotte J. Vogel
Label: King Deluxe
sounds are bred and mutated with this simple step-sequencer. it uses genetic algorithms via the RedGA library. see fredrikolofsson.com/f0blog/?q=node/144 for more info and sourcecode. and also fredrikolofsson.com/f0blog/?q=node/454 for comments on this particular recording.Fredrik Olofsson
convulsions is the 2nd piece of the vivarium album by chdh.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.
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
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.Dee Adams
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. mroth.info/code/dees-colors
...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
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.TeZ
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)
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
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 ArchiveLen Lye
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
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.TeZ
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
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.
"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
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
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.cybero
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
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
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
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
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
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
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
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
Liquid Lifeforms is a short experiment in Cinema 4D softbody dynamics. Visuals were inspired and edited to the audio track Beazt, created by disconnectuser.Quba Michalski
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!
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
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
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
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.
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.
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, 2006Paul Prudence
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.
A live audiovisual concert in two parts, realized in collaboration with Arcadi, IRCAM, Ensemble Intercontemporain and Dmitri Kourliandski.Abstract Birds
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.
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
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.Via: #cymatics news
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.
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."skismos
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.
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.
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.
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.
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 artfilm.ch
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.