Wednesday, 26 December 2012

Not If You Were The Last Junkie On Earth | The Dandy Warhols

Heroin is so passé... Just be cooler in an obvious way. I could say, shouldn't you have got a couple of piercings and decided maybe that you were gay?

I always laugh watching this, the syringes dancing are the funniest coreography ever.

The Dandy Warhols

Saturday, 22 December 2012

Tuesday, 18 December 2012

Wuthering Heights | Kate Bush

This video scares me and fascinates me... Healthcliff, the moors, Cathy's ghost, the high pitch, bad dreams in the night, I hated you, I loved you too... Hauntology.

Kate Bush

Thursday, 6 December 2012

Dyskograf | Jesse Lucas

DYSKOGRAF is a graphic disk reader. Each disc is created by visitors to the installation by way of felt tip pens provided for their use. The mechanism then reads the disk, translating the drawing into a musical sequence.
Jesse Lucas

Saturday, 1 December 2012

Pink Elephants on Parade (Dumbo)

Pink Elephants on Parade is the name of a segment, and the song played therein, from the Disney animated feature film Dumbo in which Dumbo and Timothy Q. Mouse, after accidentally becoming intoxicated (after drinking water spiked with Champagne), see pink elephants sing, dance, and play trumpets during a hallucination sequence.

The song was written by Oliver Wallace and Ned Washington and sung by The Sportsmen. The segment was directed by Norman Ferguson, laid out by Ken O'Connor and animated by Hicks Lokey, Frank Thomas and Howard Swift.

I could stand the sight of worms, and look at microscopic germs, but technicolor pachyderms is really much for me...

Wednesday, 21 November 2012

Glockenschlag Visuell | H.J. Kropp

Hear with your eyes! I have no idea what is this about...

Found at: Airform Archives

Wellenwanne | Carsten Nicolai

The installation Wellenwanne is conceived as a model or test arrangement. Flat trays are filled with water, each resting on four loudspeakers, which transmit the sound compositions via vibrations onto the water surface. The various sound pieces, which are partly inaudible, vary for each tray so that the sound signals generate various changing interference patterns. Based on the unusual physical properties of water this aesthetic-scientific test model touches on areas of particle physics posing the question how sound frequencies, as a form of energy, are able to modulate particles.
Carsten Nicolai

Found at: The Music of Sound

Monday, 19 November 2012

Forest and Trees | Keita Onishi

Forest and Trees" is an installation of moving images and sounds employing 12 digital photo frames. The animation and its sound effects playing through the internal speakers of each frame gradually come together to form music.
Keita Onishi

Found at: The Music of Sound

Tuesday, 13 November 2012

Visualización – Sonificación: Del sonido a la imagen y viceversa (8 y 9 de diciembre, Barcelona)

Descripción: Taller de Max orientado al empleo de Jitter. Generación de imagen a partir de sonido y generación de sonido a partir de imagen.

Objetivos: Aprendizaje de las funciones de tratamiento, generación y análisis de imagen y audio de la librería de objetos Jitter para el entorno de programación Max.

Fechas: 8 y 9 de diciembre.

Imparte: José Manuel Berenguer.

Más información en Laboratorio Symbolon

Why doesn't MTV play music videos anymore?

Found at:

Thursday, 11 October 2012

Grischa Lichtenberger: An Interview | Electronic Beats

So is the foundation of your art sound or images? What is your idea of progress?

That’s a difficult question to answer. I would say that the foundation is my thoughts because they are what enable me to have a plan of what I am going to do. It’s not like I first think, “Ok, I’m going to make music, so I need to do that and that”. If anything builds the foundation, then it is thinking about the language I want to use. On the other hand, I don’t think you should find ways to legitimize or explain things that were already there after the fact. When I think about it historically, particularly as a child, music was never a “foundation”—it was more about just making sounds.

An excerpt from an interview by Electronic Beats. The complete interview is at this link.

Grischa Lichtenberger

Tuesday, 9 October 2012

Sonagram: beginning of Beethoven's Eighth Symphony

I don't know anything about this image, the only explanation where I found it is this:
Sonagram: beginning of Beethoven's Eighth Symphony, displaying the overtone structure up to 12 kcps.

Found at: Continuo's documents

Thursday, 27 September 2012

Insane in the Chromatophores

What you watch in this video is the skin of a squid reacting to sound.

There are some questions as to what is happening and how this works. An iPod plays music by converting digital music to a small current that it sends to tiny magnets in the earbuds. The magnets are connected to cones that vibrate and produce sound.

Since this is the same electrical current that neurons use to communicate, we cut off the ear buds and instead placed the wire into the fin nerve. When the iPod sends bass frequencies (<100Hz) the axons in the nerves have enough charge to fire an action potential. This will in turn cause the muscles in the chromatophores to contract.

More information

Wednesday, 26 September 2012

Graphics Speak | Weng Nam

‘Graphics Speak’ is about translating graphic to sound, it consists of a collection of graphical patterns that can be turned into sound. Every single pattern has its own sound and various composition can be made by mixing the patterns on a turntable. The whole installation is in a darkroom, by broadcasting live video recording of the patterns on the analog television, the transmitted electromagnetic waves will be translated into sound by using a sensor. Therefore in this case, what you hear is what you see. In the exhibition, it also contains the process and various experiments of visualizing sound and vice versa.

Weng Nam

Found at: designboom

Tuesday, 25 September 2012

The Tanks: Lis Rhodes

Lis Rhodes: Light Music
Tate Modern: Display, The Tanks at Tate Modern: Display
18 July – 28 October 2012

Found at: Visual Music

Monday, 24 September 2012

Sound waves breaking the air | Ernst Mach

Mach was a professor in Prague. He photographed the passage of fast-moving objects clearly showing the sound waves breaking the air in excess of 760 miles per hour. Electrical illumination was triggered when the objects struck wires prior to impacting glass targets, creating a spark effect.

Paul T Burns,

This photo by Ernst Mach was shot in 1888.

Friday, 21 September 2012

The Radar | Ryoji Ikeda

The radar was projected onto the sands and waves on Praia do Diabo in Rio de Janeiro.

Curated by Marcello Dantas
OiR project

Ryoji Ikeda

Thursday, 20 September 2012

An Instrument for the Sonification of Everday Things | Dennis P Paul

This is a serious musical instrument. It rotates everyday things, scans their surfaces, and transforms them into audible frequencies. A variety of everyday objects can be mounted into the instrument. Their silhouettes define loops, melodies and rhythms. Thus mundane things are reinterpreted as musical notation. Playing the instrument is a mixture of practice, anticipation, and serendipity.

The instrument was built from aluminum tubes, white POM, black acrylic glass, a high precision distance measuring laser ( with the kind support of Micro-Epsilon ), a stepper motor, and a few bits and bobs.

A custom programmed translator and controller module, written in processing, transforms the measured distance values into audible frequencies, notes, and scales. It also precisely controlls the stepper-motor’s speed to sync with other instruments and musicians.
Dennis P Paul

Found at: wire to the ear

Wednesday, 19 September 2012

Mario Paint Composer

Mario Paint (1992) was a Super Nintendo game that included a very visual music composer.

Sunday, 16 September 2012

Saturday, 1 September 2012

Microsonic Landscapes | Realitat

An algorithmic exploration of the music we love. Each album's soundwave proposes a new spatial and unique journey by transforming sound into matter/space: the hidden into something visible.

Found at: Creative Applications Network

Monday, 20 August 2012

City Symphonies - Westminster | Mark McKeague

Can the city become a symphony? Electric cars are increasingly using synthesised sounds in order to mimic the traditional noise of the internal combustion engine. I explore an alternative in which the sound that the cars generate changes according to its relationship to other road users and the environment.

A traffic simulation is used to power the movement of vehicles through different sections of road networks in London. From a street level perspective the motions of traffic combine the sounds, creating soundscapes that are unique to the place and time. The roadside becomes a new context for sound - the city is the score.
Mark McKeague

Saturday, 18 August 2012

Friday, 17 August 2012

Score of Belle, bonne, sage | Baude Cordier

Score of Baude Cordier's chanson "Belle, bonne, sage," from The Chantilly Manuscript, Musée Condé 564. The manuscript is one of the classic examples of ars subtilior, which requires red notes, or "coloration" to indicate changes in note lengths from their normally written values. This chanson, a dedicatory piece on the love of a lady and a lord written in the shape of a heart, opens the corpus. Note the heart of notes within the larger heart.
Found at: Wikipedia

Thursday, 16 August 2012

Disease | Mauri Lehtonen

A deadly alien virus spreads throughout the world. A short video made with a broken digital camera.
Mauri Lehtonen

Wednesday, 1 August 2012

Coronado | Kian-peng Ong

Coronado is a six channel sound installation. Inspired by a visit to the beach at Coronado, the work is a digital interpretation of the spatial soundscape that I experienced there. This installation is characterized by the reverberation and bouncing of sound waves and the over lapping of analog / digital sound, forming a unique interpretation of the actual soundscape.
Kian-peng Ong

Sunday, 29 July 2012

Sketch with Line and Tonal Palindrome | Jonathan Gillie

This is another sketch from around 1999-2000 recently remade. Listening to the music of Eleh has re-ignited an interest in pure electronic sound. As with 'Circles' I was interested in working with the simplest of images and tones. The initial horizontal panning lines are reworked and positioned to move in reverse, from top to bottom then diagonally until unintentional patterns are formed. The soundtrack is taken from a fading test tone which pitch is increased by two semi tones every new line. It was a suprise that even though line and tone are linked, at points during the film they seem to bear no relationship to one another at all.
Jonathan Gillie

Friday, 27 July 2012

Audible Color | Hideaki Matsui & Momo Miyazaki

Audible Color is an audio-visual instrument. Sound is generated based on color detected by a camera. Red, green and blue correspond with certain music notes. When the colors are mixed, the resulting secondary colors produce different notes. The size of the colors influences the volume and frequency of the notes played. Color detection and sound generation were created and are controlled using Processing code.
Hideaki Matsui & Momo Miyazaki

Found at: Designboom

Wednesday, 25 July 2012

Sounds of the Americans: An Audio Exploration of Robert Frank's Photography | Andrew Emond

Sounds of the Americans is an experiment in sound and photography using the contents of Robert Frank's photo book The Americans" as a foundation for exploration. The audio tracks are the result of converting the photographs to sound via computer software outlined below. Similarly, the images have been created by loading the sounds into a spectrograph application which allows one to recreate the original photographs in a highly altered form.
The sounds.
Information about the process and the software.

Andrew Emond

Found at: Notation Notes

Tuesday, 24 July 2012

Line-Remodel | Jonathan Gillie

This is an unused sketch from a couple of years ago that I came across recently. I think the intention was to rework simple forms into complex structures with embedded sound. Although for some reason I didn't take this particular sketch any further I still enjoy watching it.
Jonathan Gillie

Saturday, 21 July 2012

This is not cinema: Engram (optical sound #001) | _blank

This video was shot with an iPod Touch using 8mm app. It's part of a series called 'This is not cinema' that recreates experimental cinema aesthetics using lo-fi digital video tools. Images are just a light bulb going on and off. The sound was generated from the frames, converting them first to .raw and then to .aiff. It's not 'optical sound', obviously, but it's a digital technique based on the same idea (you see what you hear), and the resulting sounds are similar to those from optical sound experimental films.

'Engram' is a neuropsychology term, a hypothetical means by which memory traces are stored as biophysical or biochemical changes in the brain in response to external stimuli.

Thursday, 19 July 2012

Notation Notes

Notation Notes is a tumblr that defines itsel as "an investigation of the relationship between sound and image, including scores, maps, user interfaces, instruments, video, objects, graphics, visual poetry."

Wednesday, 18 July 2012

Information Study #00011 | Alexander Ness

Sketch for "Information Studies", for Disklavier.
See the score here.
Each column represents a key, and each row represents a frame.
Alexander Ness

Found at: Notation Notes

Tuesday, 17 July 2012

Mercury Hz | nik282000

A drop of mercury being vibrated from ~120Hz down to ~10hz filmed at regular speed. The high density and surface tension cause it to resonate at different frequencies in different ways. The higher the frequency the more nodes it will form on its edge.

Found at: Noise made me do it

Monday, 16 July 2012

Bridges-Go-Round | Shirley Clarke

Bridges-Go-Round (1958) is a short experimental film by Shirley Clarke. There're two versions of the film, the only difference is the score. In this video you can watch both, but I'm only interested in the second one, with music by Louis & Bebe Barron (it starts at 3:53). The first version has a jazzy score by Teo Macero, so it's much more classical and uninspiring.

Saturday, 14 July 2012

Blutrausch | Thorsten Fleisch

An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.
Thorsten Fleisch

Friday, 13 July 2012

documentation BMP/BPM ~ Light Synth | Mariska de Groot

I show here some documentation of my optical sound project. Form and light generate sound. An invention of the early '20 used for film and the first synthesizers. A beautiful and magical concept but always covered in a big machine. I'm undusting and celebrating optical sound by making instruments, installations and doing performances where the visual part of generating sound is at least as important.
Mariska de Groot

Thursday, 12 July 2012

Auricon #3: Young Jung | George Monteleone

Auricon film #3. The disembodied voice of the famous analytical psychologist speaks through space and time. 16mm, optical sound, light organ circuitry.
George Monteleone

Wednesday, 11 July 2012

TEST - optical sound 16mm | Mariska de Groot

Capturing Images for Visual & Sound Rhythm - during a workshop by Tomonari Nishikawa @ Worm Filmwerkplaats Rotterdam. Just some sketches of optical sound on 16mm I made. Film is shot with a 35mm photocamera By doing so also the optical soundtrack part of the 16mm film stock will be exposed. A film projector transforms the visual information on the optical soundtrack into sound while projecting the film.
Mariska de Groot

lzx.test.10 | Bartosz Dylewski

Created using the LZX Visionary modular video synthesiser.
Bartosz Dylewski

Monday, 9 July 2012

Tuesday, 26 June 2012

Bronson | Nicolas Winding Refn

Two scenes from Bronson. The first song is really famous ("It's a Sin" by Pet Shop Boys), the second one is "Digital Versicolor" by Glass Candy. In the film there's another scene tuned to "Digital Versicolor" that I really love, but I haven't found the video online.

The first scene is a weird party at a psychiatric hospital ('crazy' people on drugs), someone at YouTube describes it as "this is what you look like when you take ketamine at a rave." The second scene is... rage, punches synchronized with music. The third scene, the one that I haven't found, mesmerizes me, it starts with the legs of a pole dancer and ends with a static shot of Tom Hardy staring at the void while the naked girl dances in the background.

This is blue, blue, bluuuuue.

I must say that I'm not really interested in this kind of music, I've never been a fan of Pet Shop Boys and I don't like electroclash (at least not in general, I like some songs, but I can't stand most electroclash albums). Anyway, Nicolas Winding Refn's films fascinate me, and he really knows how to choose, and use, music. Besides, in Bronson Tom Hardy is absolutely glorious.

And finally, Bronson wants some music... (I love the shot with the three policemen and the speakers).

Sunday, 24 June 2012

Cracked Ray Tube Studio Recording | James Connolly & Kyle Evans

Cracked Ray Tube is a collaborative realtime project by James Connolly and Kyle Evans that breaks and disrupts the interfaces of analog televisions and computer monitors to produce flashing, screeching, wobbulating, self-generated electronic noise and video.
James Connolly and Kyle Evans

Saturday, 23 June 2012

de/Rastra - Oscillographic Synthesizer and Computer Interface - Kyle Evans (Performance Excerpts)

The de/Rastra oscillographic synthesizer is a real-time audio/video instrument and computer-interfacing device that allows a performer to generate visualizations intrinsic to cathode ray tube technology while simultaneously creating the acoustic analog of the displayed imagery. The de/Rastra oscillographic synthesizer is an open source project and will eventually be accompanied by tutorials on methods of CRT hacking. Related tutorials can be found at but specific information regarding de/Rastra are in progress.
Kyle Evans

Monday, 18 June 2012

Early abstractions (1946-57) by Harry Smith

No. 1: A Strange Dream (l946)
No. 2: Message from the Sun (1946-48)
No. 3: Interwoven (1947-49) (Part 1)

No. 3: Interwoven (1947-49) (excerpt)
No. 4: Fast Track (1947)

Harry Smith produced extravagant abstract animations. The effects were often painted or manipulated by hand directly on the celluloid. Themes of mysticism, surrealism and dada were common elements in his work.

Information especially about Smith's early films is very contradictory. This is partly due to the work-in-progress nature of experimental filmmaking. Films are often reedited (hence the different runtimes), and occasionally incorporate reassembled footage of different films sometimes to be viewed with varying music tracks. For instance, the handmade films now known as No. 1, 2, 3, and 5 were accompanied by an improvising jazz band on May 12, 1950 when they premiered as part of the Art in Cinema series curated by Smith's friend Frank Stauffacher at the San Francisco Museum of Art.

Initially Smith intended to use Dizzy Gillespie songs. Later he showed the films with random records or even the radio as accompaniment. Smith stated that his films were made for contemporary music, and he kept changing their soundtracks. Smith also re-cut Early Abstractions to sync with Meet the Beatles! picked out by his wife, Rosebud Feliu-Pettet. After Smith's death, artists such as Philip Glass or DJ Spooky provided musical backgrounds for screenings of his films: Glass at the 2004 summer benefit concert of the Film-Makers' Cooperative and DJ Spooky at several venues in 1999 for Harry Smith: A Re-creation, an embroidered compendium of Smith's films put together by his close collaborator M. Henry Jones who tries to screen the films in the manner intended by Smith - as performances - using stroboscopic effects, multiple projections, magic lanterns, and the like.
Harry Smith

Sunday, 17 June 2012

Shallow Water | Joe Stevens

Taking Paul Klee's famous statement "take a line for a walk", I utilize GPS recorded walks, to capture the landscape scientifically and then re-represent this captured data; playing the data in new exciting ways. This work is rendered as a film and a set of limited edition prints. It references the tradition of landscape painting and contemporary art.

Coding using Processing platform creates the animation. I set guidelines for the GPS data, which is read in, interpreted and processed into an animation. A field recoding of the place where the walk took place accompanies the visual. This piece shows my love of this landscape and attempts to make known something beyond the obvious. Capturing in an essential form a description of place using an abstract visual language.

The work pays homage to a number of influences such as Constructivism, and of Hepworth and Nicholson, artists who had a strong interest in seeking out and making use of geometric forms found within the lyrical landscapes. These artists also drew inspiration from the science and mathematics of their day. They used theoretical models as new visual stimuli to develop fresh ways of thinking and working. It is also informed by Malevitch and the school of Suprematism, an art movement focused on fundamental geometric forms. The Supresatists replaced identifiable brush marks with anonymous monotone surfaces, free lines with ruled lines and complexity with apparent geometric simplicity.
Joe Stevens

Found at: @MrPrudence

Saturday, 16 June 2012 J.S. Bach - Cello Suite No. 1 - Prelude | Alexander Chen (2011) by Alexander Chen. Video capture. visualizes the first Prelude from Bach's Cello Suites. Using the math behind string length and pitch, it came from a simple idea: what if all the notes were drawn as strings? Instead of a stream of classical notation on a page, this interactive project highlights the music's underlying structure and subtle shifts.
Grab and interact
More details
Built in: HTML5 Canvas, Javascript, SoundManager
Made while a resident at Eyebeam

Found at: Creative Applications Network

Thursday, 14 June 2012

Sound Exploration: Text to Music | Annalisa Swank & Ji Yong (Raisa) Park

This is a sound exploration that repurposes the familiar—written text—and translates it into music. The aim was to give text a form beyond just the written and spoken language. Text was translated into Braille which functioned as a sheet music that could play music by being fed through the music box. The music being played in the video is the transcribed conversation between two designers.
Annalisa Swank and Ji Yong (Raisa) Park.

Found at: Noise made me do it

Monday, 11 June 2012

1:1 (one to one) clip | Richard Reeves

Exploring the one to one relationship between sound and picture. Both image and sounds are etched directly onto 35mm film. The first part of the visuals are actually the sounds you hear. A type of visual music.
Richard Reeves

Friday, 8 June 2012

Slap Bet!

Sissy-Boy Slap-Happy, Guy Maddin.

Clapping music - Steve Reich, George Manak (idea), Peter van der Ham (editing).

You Just Got Slapped, How I Met Your Mother

Thursday, 31 May 2012

54 dinamic body background | Osvaldo Cibils

54 dinamic body background 2001/2008. Sound, animated GIFs, JavaScript and Flash.
It's an online piece that you can watch/hear in this link.

Osvaldo Cibils

Found at: Modisti

Wednesday, 30 May 2012

Event Horizon | Matthew Biederman

The work metaphorically explores the phenomenon of the ‘event horizon’. Understood scientifically, the term refers to the space-time beyond which events cannot affect an observer. The most common situation where this occurs naturally are the edges of a black hole, where beyond the event horizon, no light escapes and can therefore not be observed. Taken metaphorically, the event horizon can be understood as the point of perception itself.
Matthew Biederman

Found at: Triangulation

Sunday, 20 May 2012

Audiovisual Mappings [21.05.2012, Barcelona]

This talk will address how graphical representations of sound can change the way we hear, and how audio can trick our eyes into seeing strange things. Fredrik Olofsson will demonstrate some audiovisual perception tricks and experiments he has made using the programming language SuperCollider. Simple sounds and simple graphics interconnected and combined quickly become complex and fun phenomena.

Fredrik Olofsson was trained as a composer at the Royal University College of Music in Stockholm. As part of MusicalFieldsForever he has exhibited interactive art at museums and galleries. He currently teaches at the University of Arts of Berlin and is a frequent contributor within the SuperCollider open source community. He is also one of the founding members of TOPLAP, a collective that popularized the use of live coding.

21.05.2012, 18:00h
Escola Superior de Música de Catalunya (ESMUC), aula 349. Edifici l’Auditori.
Entrada lliure / Entrada libre / Free admission

More information at L'ull cec

Tuesday, 15 May 2012

HEMISPHERE - Entretien avec Ulf Langheinrich

Ulf Langheinrich, membre du duo Granular Synthesis, présente l'expérience HEMISPHERE.
I 'watched' Hemisphere several years ago at STRP Festival, it's not my favourite piece by Ulf Langheinrich, but I really like his work and he was one half of Granular Synthesis, the authors of the AMAZING Modell 5 (you can find some videos online, but they are not match to the real experience).

Monday, 7 May 2012

Colors of Noise

White noise

Blue Noise

Purple noise

Pink noise

Brown noise

Gray noise


More about colors of noise in Wikipedia and in Rane.

Sunday, 6 May 2012

Loudthings Excerpt | Telcosystems

Loudthings is an audiovisual account of an expedition into the inside world of the computer. Using a set of elementary instructions such as modulation, masking, and feedback, Telcosystems programmed a self-organizing network of algorithmic processes for the creation of spatial image and sound. The result is a non-referential world which strains the senses; an exploration along the borders of human perception, through worlds of multiplying and mushrooming clouds of light and sound, through worlds of mesmerizing spatiality and interfering landscapes.

Thursday, 3 May 2012

Because of Norman McLaren | Boris Firquet

My dad showed me the experimental works of McLaren when i was 8 or 9 years old. Guess what? I became a video artist.
Boris Firquet

Tuesday, 1 May 2012

Oh, the early Nineties...

Nothing Compares 2U (1990), Sinéad O'Connor

Been Caught Stealing (1990), Jane's Addiction

Wicked Game (1991), Chris Isaak

Smells Like a Teen Spirit (1991), Nirvana

More than Words, Extreme

Under the Bridge (1992), Red Hot Chili Peppers

Everything's Ruined (1992), Faith No More

Walking in my Shoes (1993), Depeche Mode

Man-Size (1994), PJ Harvey

Closer (1994), Nine Inch Nails

Undone – The Sweater Song (1994), Weezer

A Girl Like You (1994), Edwyn Collins

Monday, 30 April 2012


This is a laboratory test about adapting "Synchromy", a classic animation movie from Canadian animation filmmaker Norman Mc Laren, for an immerssive dome display (Labodome).

This test was made for the SAT Society for Art and Technology in montreal, 21-07-2011.

The adaption process was made by Antoine Saint Maur.

Sunday, 29 April 2012

LEV/VITTUS | Paul Prudence

Short promotional teaser clip of collaborative live AV performance with the Spanish Composer and electronic musician Ramón Prada for LEV 2012 [Laboratorio de Electrónica Visual] which takes place on April 27-28th 2012 across a variety of venues in Gijon, Spain.

The work interweaves classical composition incorporating live piano and viola with field recordings and abstract electronic tones and rhythms. For the video I've used live sound analysis combined with time-line triggers, often shifting the connections between musical voices and abstract visual signifiers in the hope of creating non-predictable synchronies. These shifts are also triggered by rhythmic aspects of the composition.
Paul Prudence

Color Glitch | reaktorplayer


Friday, 27 April 2012

inTra _ Trailer | idrioema

Essentiality, substance understood as something basic and independent in the existence, which is below of other potential realities and is therefore a primary source of activity.

In this regard, for the present composition have been used visual programming codes that use as raw material only the pixels of the screen being influenced by the size and therefore the space and by the time, being their actions determined by different levels of speed.

Similarly, the sound was achieved using only sine-wave frequencies, that follow the images moving in space with variables intensity for the creation of rhythms and micro-tonal ephemeral structures.

Not a surface on which to draw, but a surface with which to draw; an expanse of apparently white from which to get a glimpse of many different light gradations.
Trailer for audio-video composition i n T r a
Total lenght: 70 minutes.
Available as cd (audio) + dvd PAL (video & audio ac3) in printed digipack.


Thursday, 26 April 2012

Pitch to Rhythm :: Rhythm to Pitch | Andrew Lucia with Christopher Lee and Matthew Lake

Inspired by two early works of Karlheinz Stockhausen, the authors visualize tonal and rhythmic sonic principles utilized by the composer in the pieces Elektronische Musik Studie II and Kontakte. Recognizing frequency as an objective attribute of sonic structure, our studies were inspired by notions of perceptual rhythm and pitch manipulation present in Kontakte and generative material aspects of additive synthesis explored in Elektronische Musik Studie II. Approaching this topic with backgrounds in architecture, the authors’ interests lie largely in visualizing the nested spatial and phenomenal potentials of the works.
More information

Authors: Andrew Lucia with Christopher Lee and Matthew Lake Published in Leonardo Music Journal Number 20, MIT press. Link to abstract and article.

Tuesday, 24 April 2012

Music visualizations as a means for discovery | Megan Adams

The basic idea behind information visualization (InfoVis) is that it takes an otherwise stagnant data set of facts and numbers and transforms into an imagery filled with visual patterns and elements. While this idea is certainly not new it has been regenerated from the cartographer days to a more modern means to express and exchange information for a variety of purposes. Specifically using visualizations for music has yielded some interesting concepts that transpose the senses from ears to eyes.
Megan Adams

Complete text at Masters of Media

Sunday, 22 April 2012

INSOMNIAC I | HeeWon Lee & Alexandre Del Torchio

Insomniac I, like a dream to waking us on a hypnotic journey to the heart of the night. The light attracts us like whirling beetles in the dark. Eyes wide open - like a night without sleep walked. Neons flashing at different frequencies retain our retina. They are accompanied by analog and digital sounds that remind us of the crackling breath of electronics and electricity. Here a fiction is playing in the crossing of "parasites / short circuit" that (re)produces the work. Insomniac I is an installation that seems minimal and abstract, where, 48 neons and 48 sounds in a subtle and random rhythms and sequences create a mental landscape.
Directed: HeeWon Lee, Alexandre Del Torchio; Conception: HeeWon Lee, Alexandre Del Torchio; Computer Programming: Mathieu Chamagne; Technical Electrical: Francis bras, Interface Z; Production: My Monkey.

Tuesday, 17 April 2012

Paint2Sound | FlexibeatzII

Paint2Sound is a neat little self-contained application for converting any existing .jpg or .bmp image, or any picture you care to draw/paint with it, into a soundscape. This application can bring a new dimension to your music making, or at the very least give you a unique way of coming up with interesting sounding samples.

Found at: Richard Devine's Twitter

Monday, 16 April 2012

Sine Wave Patterns - Audacity Databend | artifacterror

This databend was created by opening a video file in Audacity and replacing all the information bar the header by using the generate option to produce sine waves of varying frequencies.

Unlike using square waves, sine waves don't always produce a video that is playable. I also noticed that clips produced using either sine or sawtooth waves of the same frequency produced practically identical videos.

Friday, 13 April 2012

Wednesday, 11 April 2012

Unbelievable | EMF

The previous post remind me another 90s video... This one is from early 90s (1990).


Tuesday, 10 April 2012

Drinkin in LA | Bran Van 3000

Suddenly I remember this... What the hell am I doing drinking in L.A. at 26? Oh, the Nineties...

Bran Van 3000

Tuesday, 3 April 2012

Erosion/Evaporation (Scan Reina Sofía) | Blake Carrington

The present piece commissioned by Radio del Museo Reina Sofia, titled Erosion/Evaporation (Scan Reina Sofia), treats the architectural plans of the museum as open-ended music scores. Using custom sonification software that scans the plans in myriad ways in a real-time performance, the structures are translated into sound spanning a spectrum from dark drone to crisp polyrhythm. Rather than considering the sound as an empirical revelation of the architecture’s secrets, the correspondence between them is seen more as one of poetic tension. There are many ways that one might translate architecture into sound, and this is one of them.
More at RRS
Blake Carrington
RRS Museo Reina Sofía Radio

Rain | Rainer Kohlberger

Rain is a minimalistic audio visual composition you can play yourself.
Rain app
Rainer Kohlberger

Monday, 2 April 2012

Random Access Music | Nam June Paik

In this tape installation [...] the visitor can use the sound head, which has been detached from the tape recorder, to interactively run through the tapes glued to the wall, and constantly vary the sound sequence according to location and speed. This random access to the musical raw material enabled visitors to produce compositions of their own.
Medien Kunst Netz
Nam June Paik

Saturday, 31 March 2012

Oscillons | Benjamin F. Laposky

Benjamin Francis Laposky (1914–2000) was a mathematician, artist and draftsman in Cherokee, Iowa. He has been credited with making the first computer graphics, utilizing an oscilloscope as the creation medium for abstract art. In 1953 he released what he called "Oscillons" (or oscillogram designs) along with a corresponding thesis entitled "Electronic Abstractions" via a gallery exhibition of fifty pictures of the same name at Sanford Museum in Cherokee. Laposky is often credited as the pioneer for electronic art, more specifically in the analog vector medium.
In 1950 Laposky used a cathode ray oscilloscope with sine wave generators and various other electrical and electronic circuits to create abstract art, so called by the artist, "electrical compositions". These electrical vibrations shown on the screen of the oscilloscope were then recorded using still photography. In later work he also incorporated motorized rotating filters of variable speed to color the patterns.
More about Laposky: Laposky’s Lights Make Visual Music

Friday, 30 March 2012

internal9.series1 | Bartosz Dylewski & Geoff Reader

The audio is recorded using Casio CZ101 digital synthesiser with a flat internal battery; this means that around a week after programming sounds into the memory card they start to degrade, setting themselves to illegal values. Eventually they end up as silence, but for a period through the magic of Phase Synthesis they evolve through some unique sounds that would be impossible to programme manually.

The video is created and recorded in real time without any post-production adjustments using Pure Data (with Gem plug-in), Chuck and Processing. These three connected units are spread across two computers and communicate with each other using Open Sound Control. PD Gem patch is responsible for creating graphics, Chuck for playing pre-recorded sounds. Both are triggered by a controller written in Processing, which reads sound frequencies and triggers visual output. There is no footage used to produce the graphics. Instead everything is based on glitch achieved with wrongly displayed blank PNG files and feedback stacks.
Geoff Reader aka McCloud (audio) and Bartosz Dylewski (video).

Wednesday, 28 March 2012

Synse | Christian Sander and Michael Becker

Synse is an interactive visual music app that combines controlling music and visuals.

Christian Sander and Michael Becker.

Tuesday, 27 March 2012

Panel The Dream Machine, Part 1: TeZ - PV868 (Sonic Acts XII, 2008)

Sonic Acts is a biannual festival at the intersection of arts, science, music & technology.

PV868 is an experimental performance by TeZ (IT), aimed at producing an audiovisual feed/stimulus which allows moving visual patterns to emerge directly in the brain of the viewer/listener. This stimulus is generated in real-time by a combination of flickering video and synchronised synthetic sounds distributed in a quadrophonic surround system.

Maurizio Martinucci (aka TeZ) is an Italian multimedia artist and producer who has collaborated with Scanner, Taylor Deupree, Francisco Lopez and others. He uses technology as a means to explore synesthesia and the relationship between sound and images. He focuses primarily on generative composition in interactive painting, live cinema and sound installations.

Monday, 26 March 2012

Electronic Linguistic | Gary Hill

In this early piece (1977), Hill explores the structural and organic interrelationship of linguistic and electronic phenomena. The work’s images appear as visualizations of electronically generated sounds. Initially, small pulsating pixel structures occasionally appear on the black screen. These monadic forms become larger, ultimately filling the picture plane and pulsating ever more intensely. They are accompanied by high-frequency sounds that descend in tone as soon as a bright still image fills the monitor. When the small pixel structures assume a semi-circular shape, high tones, identical to those heard at the outset, recur once more. Following come several sequences of varying lengths, in which the audio frequencies abruptly change corresponding to the electronically generated images. Finally, a stroboscope-type sequence leads into a silent still image lasting several seconds, ending the work. Through its construction of a language of electronic images and sound, this work prefigures later, more complex pieces.

Gary Hill: Selected Works and catalogue raisonné, edited by Holger Broeker (Wolfsburg: Kunstmuseum Wolfsburg, 2002), GHCR 22, p. 68.
Gary Hill

Saturday, 24 March 2012

Land of a 77 waves | Binaura

This hardcore test video is an investigation towards a sonification of visual algorithms. A one dimensional reaction diffusion system can be found here. Its parameters are controlled with a mouse and the brightness of these organic patterns are controlling the frequency of 77 soundwaves.

Friday, 23 March 2012

Listen to your computer: lstn prerelease demo | Michael Takezo Chinen

lstn is an open source program that sonifies other programs by attaching to them fetching memory, current cpu opcodes and call stacks.

It can also 'playback' blocks of memory and control the speed of the program being attached to. The sonification methods are still being developed, but one of the aims is to keep the sonification mostly 'honest' and perceptually meaningful. There will be much more development of these methods as well as the UI.

This demo features it being used on OS X's TextEdit, Dock, Finder, and Audacity.

The attaching methods are modified from gdb and boinc source.
Michael Takezo Chinen

Thursday, 22 March 2012

Font Sonification | Siu Chong

An exploration in the crossbreeding of bitmap fonts with 8-bit sounds. Created at the Atlantic Center for the Arts Residency.
Siu Chong

Wednesday, 21 March 2012

Vikingland Noise Redux (teaser) | Ulobit

Ulobit is a project by Ariel Ninas (hurdy-gurdy), Horacio González (video) and Xoan Xil (electronics) based on experimental processes about improvisation, working in the realms of sound/visual error, incidental music and minimalistic rythms.

Tuesday, 20 March 2012

Drift | Ulf Langheinrich (Sonic Acts XII, 2008)

With 'Drift' Ulf Langheinrich (D) brings abstract images and sounds from both art and music into the cinematic space. A stream of abstract, deep and dense images and sounds evolves from a realistic image. The images are transparent, high in resolution and fine in detail. A process of multiple metamorphoses in several parallel spaces and time-layers constantly transforms their consistency, viscosity and transparency. The permeation, stacking and re-visualisation of such layers is almost symphonic, but does not separate areas of certain characteristics into chapters or movements.
Ulf Langheinrich
Sonic Acts

Monday, 19 March 2012

Spectrogram | Lee Martin, inspired by Jon-Kyle and built by Lee Martin with SoundCloud. To watch it live click the link to You can add any Soundcloud track.

A spectrogram is a time-varying spectral representation (forming an image) that shows how the spectral density of a signal varies with time.

Via: Kamen Nedev

Visualizing Sound [3/30-6/25, Gijón (Spain)]

Visualizing Sound examine the synthesis between image and sound, the various graphic and physical representations of sound, and its evolution in contemporary art. It draws an itinerary through seminal practitioners and artworks from the last decade while also paying attention to experiments in “visual music” carried out by artists from the beginning of the last century such as Oskar Fischinger or James Whitney.

The exhibition underscores the research undertaken by the LEV Festival into sound visualization and moves forward the infinite possible interfaces between sound and image, over and above live performances.

Saturday, 17 March 2012

Vladislav Delay - Lauma (excerpt) | AGF

artist: Vladislav Delay
title: Lauma (Ercerpt)
album title: Vantaa
release: nov 28th, 2011
label: raster-noton
live visuals by AGF
music, production and mastering by Sasu Ripatti
publishing by Basic Channel for Universal

Thursday, 15 March 2012

DRIVE-BY COLOGNE | Johannes LDC Guerreiro

A smooth drive-by Audiovisual to the Sound from Hans Nieswandt - Cologne Monkey Station Remix (Original: Werle & Stankowski - Cologne)

Time speed-ups were processed through filtering the beat with expressions. Scenes were taken from a drive-by tour through cologne (germany). From the south to the north-west. Camera: Panasonic GH1 + Polarfilter
Johannes LDC Guerreiro

Wednesday, 14 March 2012

TWR 72 - Tunnel | Ine van den Elsen

Music video for the song Tunnel by TWR72. Inspired by their minimalistic sound with a huge climax, we made a 21st century version of the liquid light shows from the late 60's, which they will also use in their live performance. All visuals in this video were made by hand.
Direction, art direction & production: MRRK and Ine van den Elsen
Editor: Ine van den Elsen
Music: TWR72
Label: Instant Replay

Tuesday, 13 March 2012

db at Hamburger Bahnhof, Berlin | Ryoji Ikeda

January 28 - April 9, 2012

Japanese composer and visual artist Ryoji Ikeda has conceived an exhibition for the Hamburger Bahnhof. He has designed a white room and a black room as counterparts. The project is a composition in which time and space are shaped through the most minimal use of sound, light and visual elements.
Ryoji Ikeda

Monday, 12 March 2012

A short audio reactive video piece created using Sound Keys and Trapcode Particular plugin using Adobe After Effects CS5.

Sound composition was created using a single 2 second 50Hz audio sample and applying modulation, frequency and phase filters as well as delay and reverberation audio effects in Adobe Audition, Sony Sound Forge and Traktor Pro 2.
Horia Lambrache

Sunday, 11 March 2012

0406_01_RS_! | a aab

Video work as part of my diploma project das rauschen / the noise. the graphical material is all from distorted vhs tapes that i found on my attic. The music is taken from the record ~treibgut by artist / musician Grischa Lichtenberger, wich was released on raster-noton in the unun series.
a aab

Expanded Cinema & Optical Sound: A workshop with Guy Sherwin and Lynn Loo is pleased to present a two day workshop in expanded cinema & optical sound, led by Guy Sherwin and Lynn Loo.

Using the laboratory as an open platform for experimentation, artists will explore ways of overlapping analogue and digital technology to create immediate forms of image and optical (photographic) sound creation.

Participants will play with the possibilities inherent in 16mm film projectors, by exploring the mechanics of the machines and expanded modes of film performance, such as the use of the projectors as live instruments. The workshop will include darkroom hand processing of film, different kinds of copying techniques (flat printing or pic sync printing) and will include Lynn and Guy performing some of their live multi-projector works, which they have been touring under the heading 'Live Cinema'

Price: £130 members, £180 non-members
4th and 5th May 2012, 10:30 - 5pm

I would really love to be there, if you live in London don't miss this workshop!

More info

Thursday, 8 March 2012

The Visual Context of Music | BibliOdyssey

BibliOdyssey is a blog about books and illustration. In 2006 they published a post about the 'visual context of music' with examples of graphical scores, some of them really old –the image above is from 'Cantorinus ad Eorum Instructionem' by Luce Antonii Junte (1540). If your are interested in this topic the post includes some related links.

Wednesday, 7 March 2012

Noteput – Interactive music table | Jürgen Graef & Jonas Heuer

Noteput is an interactive music table with tangible notes, that combines all three senses of hearing, sight and touch to make learning the classical notation of music for children and pupils more easy and interesting.
A project by: Jürgen Graef & Jonas Heuer

Monday, 5 March 2012

Musical Paintings | Orlando Leibovitz

The objects in this series are simultaneously paintings and musical manuscripts. The shapes and colors comprise a rudimentary musical language.

There are three different symbols in each painting. Each symbol is a musical note. The shape designates a different volume. The size of the symbol indicates a whole, half, quarter, or eighth note. The color designates pitch. The melody in each painting is composed by chance. A role of the dice or a turn of a card determines the music. Paul William Simons provided additional harmony and performed the work.

All paintings are acrylic on canvas or linen. The sizes range from 40” by 30” to 60” by 96”.
Orlando Leibovitz

Via: Roc Jiménez de Cisneros

Sunday, 4 March 2012

Paper Note ~ Tangible Paper Waveform

Paper Note allows you to record a message, the sound is analyzed to be transformed into a tangible waveform made from paper.

We programmed Paper Note using Processing and used a laser cutter to create each slice of the waveform. Each message consists of around 450 paper disks.

This project was part of the Generative Design module at Big thanks to David gauthier, Joshua Noble and Marcin Ignac for their help with the code.
Project by Andrew Nip & Andrew Spitz
Music: Felix Laband Album: Dark Day Exit Track: Miss Tear Drop

Found at: Creative Applications Netwotk

Saturday, 3 March 2012

Cube with Magic Ribbons | Simon Katan

This is a preview of my new audio-visual composition for live performance, Cube with Magic Ribbons. The piece partly draws on the visual paradoxes of M.C.Escher but is also inspired by the impossible spaces found in the two dimensional graphics of early computer games such as Asteroids and Pacman. I created it using a custom visual sequencer, Sound Circuit, which I built in OpenFrameworks. The sound is from SuperCollider of course!
Simon Katan

Thursday, 1 March 2012

Clip, Klapp, Bum. Nuevas formas de música visual [4 marzo, Barcelona]

Un programa creado en colaboración con Animac, la muestra de cine animado de Lleida, cuyas piezas han sido seleccionadas por la joven comisaria austriaca Wiktoria Pelzer. «El título de la sesión es un guiño al libro de 1987 de Peter Weibel y Veruschka Bódys en el que reflexionan acerca de los videoclips como forma de expresión artística. La sesión se centra en la visualización de la música en los últimos años, en los que ha surgido un gran abanico de diferentes acercamientos al tema que merecen ser descubiertos. Tras el legado de McLaren, Ruttman, Fischinger o Lye, esta selección muestra que el tema de la música visual no ha dejado de interesar a los artistas contemporáneos. No es casualidad que estos clips sean en su gran mayoría animados, ya que la animación es una de las artes capaces de representar lo imaginado (casi) sin límites».

Playtime, Steven Woloshen [música: Oscar Peterson], Canadá, 2009, 4 min; On the Motorway, Jul & Mat [música: Metronomy], Reino Unido, 2010, 2 min 30 s; Gridin’, Rogier van der Zwaag [música: Nobody Beats the Drum], Holanda, 2010, 3 min; Trois, quatre, Jean-Patrice Blanc, (ENSAD), Francia, 2009, 3 min; Dubus, Zelany Rashoho [música: Zelany Rashoho], Rusia, 2008, 4 min; Bagatelle I, schnellebuntebilder (Sebastian Huber, Robert Pohle, Johannes Timpernagel) [música: György Ligeti], Alemania, 2011, 1 min 16 s; Vergence, Tina Frank, Florian Hecker, Austria, 2010, 6 min 30 s, Ariel, Marcus Wendt, Vera Glahn, [música: Stateless], Reino Unido/Alemania, 2010, 3 min 31 s; INSCT, Johannes Timpernagel [música: Skyence], Alemania, 2010, 2 min 28 s, Transistor, Michaela Schwentner [música: Radian], Austria, 2000, 6 min, The City, Dirk Koy [música: Five Years Older], Suiza, 2010, 4 min, Animals, Kristopher Ström [música: Minilogue], Suecia, 2008, 5 min 41 s, Dynamite, Superelectric (Henk Loorbach) [música: Kraak & Smaak), 2010, 3 min 24 s, Vanishing Point, Takuya Hosogane [música: cubesato], Japón, 2010, 2 min, Tinamv 1, Adnan Popovic [música: Kilo], Austria, 2011, 4 min.

4 de marzo a las 18:30 en el CCCB (Barcelona).

Más información