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