Thursday, 16 July 2015

Wednesday, 1 July 2015

Transitory Presences #03 | Yolanda Uriz + Lars Åkerlund

Yolanda Uriz + Lars Åkerlund

Seven Days | Chris Welsby

Each day starts at the time of local sunrise and ends at the time of local sunset. One frame was taken every ten seconds throughout the hours of daylight. The camera was mounted on an equatorial stand which is a piece of equipment used by astronomers to track the stars. In order to remain stationary in relation to the star field, the mounting is aligned with the Earth's axis and rotates about its own axis at approximately once every 24 hours.
Chris Welsby

Monday, 22 June 2015

Opus IV | Walter Ruttmann & _blank

"Opus IV" is a digital reinterpretation of the 1925 homonymous film by Walter Ruttmann.

The video file is the original film by Ruttmann (on the Public Domain) downloaded from archive. The sound was generated from the video frames. Even it could be considered a sonification work, or even a generative work, the audio files and the image files are exactly the same, you hear what you see. The process of creation consisted on saving all the 7.755 frames from the original film first as .raw and then as .aiff.
_blank

Tuesday, 9 June 2015

Lissajous

Lissajous is a complex audio/video signal generator built in Max/MSP and inspired by the work of Jules Antoine Lissajous.

The media project is born with the purpose of investigating the relationship between sound and vision, chaos and order, closely related to astronomy, mathematics & physics. It explores the field of harmony and disorder and let the user dip into an elegant, dreamlike, minimalistic yet chaotic space which reflects the complex rules of the universe in all its abstract beauty.
More information at Audiobulb Records

Monday, 8 June 2015

Projectors | Martin Messier

Martin Messier's Projectors is a surgical work of art in which he orchestrates the engineering, manipulation and distortion of 8mm projectors under the lights of a digital projector. Through a tight stage lighting and the resynthesis of the 8mm projectors’ quasi-mythical roar, the machines come alive outside of the projection room and turn into bizarre and explosive noise mechanisms.
Martin Messier

Monday, 1 June 2015

Monday, 23 February 2015

Rip #4 - Short Arguments About Inscription | Tivon Rice

This series of kinetic sculptures creates audio as rotating waveforms modulate light emitted from a small bulb. While low in resolution, this visible process presents a tangible relationship between the recorded mark and the resulting sound. Drawing upon Rilke’s Primal Sound (1919), in which the fissures traversing a human skull are likened to the traces on a phonographic cylinder, this project experiments with the translation of a physical mark to an entirely different sphere of sensation (aural). In Rip #4, the discs present two documents of the same event: the simple act of tearing a sheet of paper. While one disc is inscribed with the recorded sound of the paper ripping, the second disc traces the resulting torn edge of the paper. They both attempt to describe the same action, but the inevitable sonic result is… ...noise.
Tivon Rice

Monday, 16 February 2015

I.S. Migration | Coleen Fitzgibbon

Digital, color, sound, 17:03 minutes. Expanding a system; enhanced excerpt from Internal System with optical sound track and video raster in frame.
Coleen Fitzgibbon

Wednesday, 11 February 2015

Microdots | Gordon Nelson

This cameraless super-8 film was made by adhering "Zip a Tone" graphic arts shading material directly to the film's surface. The film (originally created in 1993) was resurrected and finished in 2010 when it's undiscovered soundtrack was played on a projector with optical sound capabilities. The soundtrack is the actual sound created when the pattern of dots passes over the sound head.
Gordon Nelson

Tuesday, 10 February 2015

Optical sound examples | Alexander Dupuis

The sonic results of some common image processing techniques are tested using a digital implementation of an optical soundtrack. This video shows the original images, the average lightness of each row, and the equalized waveform for each frame. While the sonifications can vary considerably based on the source material, the results given here are hopefully illustrative of the general effects of these processes. The manipulations include changes to y and x axis scale, rotation, brightness, and contrast.
More information
Alexander Dupuis

Monday, 9 February 2015

dot matrix (performance sample) | Richard Tuohy

This is a 5 minute section from a 16 minute (or 22 minute) , two x 16mm projector performance work. Two projectors, projecting slightly offset fromone another. Each film contains a flicker printing of various sized dots. The dots were produced by 'rayogramming' dot screens (used in manga cartoons) directly onto raw film stock in the dark room. These are the same original rayogrammed dots I used in my film 'Screen Tone'. As with that work, the sound you hear is the sound produced by the dots themselves (which extend right accross into the sound track area) as they pass the optical sound head of the projector. The 'drama' in this work is generated by the interference patterns created by the otherwise regular arrays of dots. Note, the 'off the wall' video documentation, let alone the massive divX compression, greatly reduces the effect of this work!
Richard Tuohy

Sunday, 8 February 2015

Check | Carlos Dominguez

check is a fixed-media piece for xerographed film completed in July 2013 at Dartmouth College. Inspired by abstract film-phonography experiments, it explores the sonic potential of geometric patterns and black and white frames. check was created by xerographing collages of printed patterns onto strips of clear 16mm film. The result is a three and a half minute film, where xerographed collages are animated and a portion of the image is directly translated into an audio signal by a 16mm projector.
Carlos Dominguez

Friday, 6 February 2015

No-Input Pixels | Alexander Dupuis

While designing and testing a video feedback rig, I noticed the system started creating repetitive patterns without any input from me. Under certain settings, the system demonstrates emergent behaviors where related gestures form, collapse, and reconfigure themselves. Over time, these same gestures rotate through different combinations of primary and secondary digital colors, with the collapses becoming longer and more intricate.

The video system was created in Max/MSP/Jitter, and generates its patterns using a feedback loop with a kaleidoscopic shader, custom pixel-displacement, and most importantly a sharpen shader that acts as cellular automata rules.

The sound is a sonification of the video based on digital extension of optical soundtrack idea. The video is split into 8 new signals by filtering the six different colors, as well as white and black. Edge detection and analysis is used to find the row or column with greatest density of information, and this line is sonified by reading through it as a waveform.
Alexander Dupuis

Wednesday, 4 February 2015

Scanning Veil Test 01 | Phillip Stearns

Video Source: An image of a sunset was scanned top to bottom, one row of pixels at a time. Individual video frames were created from each row of pixels in the image by first mirroring, then stretching them to the full height of the frame. The frames were then animated in sequence at 15fps. Audio Source: Each row of pixels was exported as a string of 8bit RGB values. A file containing the RGB pixel data was rendered as 24bit floating point audio (each pixel rendered as an audio sample). The final exported audio playback rate was matched to the video (playback sample rate was adjusted only).
Phillip Stearns