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.
Monday, 30 April 2012
Sunday, 29 April 2012
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.Paul Prudence
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.
Saturday, 28 April 2012
Friday, 27 April 2012
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.Trailer for audio-video composition i n T r a
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.
Total lenght: 70 minutes.
Available as cd (audio) + dvd PAL (video & audio ac3) in printed digipack.
Thursday, 26 April 2012
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
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, 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 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.FlexibeatzII
Found at: Richard Devine's Twitter
Monday, 16 April 2012
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.artifacterror
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.
Saturday, 14 April 2012
Friday, 13 April 2012
Thursday, 12 April 2012
Wednesday, 11 April 2012
Tuesday, 10 April 2012
Tuesday, 3 April 2012
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
RRS Museo Reina Sofía Radio
Monday, 2 April 2012
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.Nam June Paik
Medien Kunst Netz