GRAPHIC SOUND VISUALIZERS - XIII
Collecting five more sound visualizations. Check previous A/V Live collections under the tag “Graphic Sound Visualizer”.
"… we abandoned the idea that image act only as a functional accompanist to sound and instead subordinated the audio element for our desire for the image."
(Ryoji Ikeda & Carsten Nicolai (2011), “Cyclo.id”)
[pic: 2nd JULY: Luis Sanz & Manuel Oberholze / OAV: Andre Rangel,
Pedro Tudela & Miguel Carvalhais / INFINITY: Gregor Göttfert and Florian Voggeneder]
AV performance presented at the Museu “International Digital Art Festival EM15”. “.. the idea is to associate space perception with the notion of time. The evolution of the rhythm influences the dimension of the environment when the sound granulation shapes the texture of the geometrical instantiation (group of items). Using minimal aesthetics and audio reactive behaviour, ‘Durations’ immerses the audience in an organic audio-visual experience. “
By Maotik and Metametric, 2014. More info here.
SUBMERSIBLE COMPUTER CENTER
Exploration of sound visualizations at “Stallion”, a 328 Megapixel Tiled Display System at TACC (Texas Advanced Computing Center). Visuals in Processing using “Massive Pixel Environment“, a library for extending Processing sketches to multi-node tiled displays.
By Visiophone, 2014. More info here.
"… animation generated in real time using sound analysis. The main idea behind was to play with geometric shapes provided in gl.gridshape. As a result, abstract graphics fluctuating on a given time." (Note: ""gl.gridshape" is a MAX/JITTER object).
By Luis Sanz (visuals) and Manuel Oberholze (Music), 2013
"OAV is a multimodal performance system. OAV’s structure is generative, with varying outputs ranging from minimal to extremely noisy, progressing from a high level of abstraction and a slow tempo to near figuration and an increasingly accelerated rhythm. "
By Andre Rangel (Visuals), Pedro Tudela (Music) and Miguel Carvalhais (Music). More info here.
Audiovisual Performance. “By manipulating a feedback loop consisting of analog cathode ray image converters, Göttfert/Voggeneder investigate the interaction between signal and interference, image and sound, analog and digital aesthetic.”
By Gregor Göttfert and Florian Voggeneder, 2012. More info here.
• • 4 notes
COLOUR ORGANS - III
Collecting five more audiovisual instruments similar to “colour organs”.
Check the first and second post on this category.
[pic. CLAVILUX 2000, Jonad F. Heuer / PIANO AS MEDIA IMAGE, Toshio Iwai
LUMINESCENT GRAND, William Jerome]
"The Clavilux 2000 is an interactive instrument for generative music visualization, which is able to generate a live visualization of any music played on a digital piano. The setting of the installation consists of three parts: A digital piano with 88 keys and midi output, a computer running a vvvv patch and a vertical projection above the keyboard. "
By Jonad Friedemann Heuer, 2009. More info here.
The original Clavilux by Thomas Wilfred was feature in the first post of “Colour Organ”.
PIANO, AS MEDIA IMAGE
"Here the user, seated at the piano, triggers a flow of images that depress the piano’s keys; a consequence of this action releases yet another flight of images. The resulting interactive installation synthesizes two different aesthetics: sounds (simple melodies), images and a mechanical object (the piano) with digital media. A projected score and computer-generated imagery transform the piano into image media, hence the work’s name." (Leonardo v.34, 2001)
Below a video documenting the function of interface ( video with bad quality).
By Toshio Iwai, 1995. More info here.
Two years later (1997), Toshio Iwai made an collaboration with Ryuichi Sakamoto and both created a live performance called “Music Plays Images x Images Play Music” where they used Iwai’s device to play and interact with sound and visual imaginary on stage.
More info on “Music Plays Images x Images Play Music” here.
UN SOSPIRO WITH SERENA HAN
"Instrument for live performance on piano and lights."
MIDI data from the digital piano controls real-time LED visuals based on a particle system with springy underdamped physics. Keys to the left of a division on the keyboard produce sinusoidal low-frequency oscillations that modify the behavior of all particles, while other keys emit new particles following an intuitive mapping between pitch, color, and angle.”
"The chaotic combination of the particle emitters, oscillators, and physics can produce complex and nuanced visuals that are completely under control of the performer. After learning the instrument, a performer may intonate emotion into light and sound simultaneously."
By Micah Scott and Serena Han, 2014. More info here.
"Using MIDI to communicate with the Arduino chip, we assigned each note in one octave its own colour and repeat this in every octave.
The light board is designed with 88 rows of lights representing strings so that each note can be assigned a row of lights”
By William Jerome. More info here.
FORM GIVING PIANO
"The sound Imagined from form. The movements and shapes created from sound. I sought not only logical images controlled by the program but also a more pleasant feeling sympathy."
By Ryu Matsuyama and HAKUSHI, 2013.
• • 5 notes
IMMERSIVE AUDIOVISUAL ENVIRONMENTS - VIII
Collection of immersive environment where the audience is emerged into alternative mixed realities.
When observing this recent immersive spaces there is an instant connection with the “Motion Panoramas”, “Electric Cyclorama” and other similar spaces from the XIX century.
Erkki Huhtamo wrote an excellent book collecting these early “mixed reality spaces” that were built to transport the audiences to temporary autonomous spaces.
The book, [Illusions In Motion: Media Archaeology Of The Moving Panorama And Related Spectacles] is the result of very extensive research (done in the last twenty-five years) into the “moving panoramas”, huge rolls of painted canvas unrolled in front of an audience and enhanced with interpretational lectures, live music, sound effects and often dioramic “special effects”.” (Neural review).
[TOP: “Cinéorama” simulating a ride in a hot air balloon over Paris (1900) / BOTTOM: Audience observing the immersive AV piece NIMBES (2014) at Statosphere, an 18 meter diameter dome in Montreal]
• • 4 notes
MOTION SCULPTURES - VII
Where movement is used to create, modify or interact with visual shapes and forms.
This post collects a set of different approaches where movement is transformed into visual shapes. From real time tracking and collected digital data to generate visuals, to physical mechanisms that by moving draw images in space.
[pic. DANCERS TRAILS, Mountstart / WAVES, Memo Akten ]
• • 4 notes
KINETIC STRUCTURES - III
Following up the previous compilations on kinetic digitally-controlled-structures and mechanism (check part I and part II). This time dedicated to performing robots.
[pic. MeetYourCreator, MARSHMALLOW LASER FEAST / Tantra, RHIZOMATICS /
AbsolutQuartet, PLEBIAN DESIGN]
• • 4 notes
SHAPING SOUND - V
Collecting cases where sound is generated from shapes and other graphic features.
"The Variophone was invented by Evgeny Sholpo in 1930 at Alexander Shorin’s Central Laboratory of Wire Communication in Leningrad."
"Unlike Avraamov, who shot still images of sounds on an animation stand, Sholpo used cardboard disks with circular images of combs with suitably shaped cogs rotating synchronously with a moving filmstrip. The advantages of the Variophone were in its flexible and continuous pitch control and vibrato. “
"It already incorporated one of the most crucial and necessary devices – a mechanism for the precise and continuous changing of the speed of rotation of the optical disk with the sound wave pattern i.e. a means of controlling the pitch with the possibility of synth".
(source: Andrey Smirnov’s “Graphical Sound”)
[variophone schematics, Evgeny working in the variophone, cardboard disks]
• • 12 notes
IMMERSIVE AUDIOVISUAL ENVIRONMENTS - VII
List of five stage performances that happen inside responsive or interactive audiovisual immersive spaces.
Check more under Immersive A/V Environments IV and Immersive A/V Environments III.
[pic: HAKANAI, Adrien M, Claire B // BREAKDOWN, R.Carvalho, Y.Quay and S.Shen
ABSORPION, M.Schlesinger, H. Delimat // D. Harrer and F. Voggeneder. Details below].
• • 9 notes
GRAPHIC SOUND VISUALIZERS - XII
Collecting five more AudioVisual Live performances. Check previous A/V Live collections under the tag “Graphic Sound Visualizer”.
[Graphic Sound Visualizers / Seeing Sound / Hyper Sensory Performances / Synaesthetic Events]
[LUMIÈRE, R.Henke // PHYSICAL, A.Thibault, M.Biederman // SUPERCODEX, R.Ikeda]
• • 8 notes
MOVEMENT SONIFICATION - VI
Collection of examples of sonification of body movement.
By the use of computer-vision, body-tracking techniques or electronic sensors the movements of the body are captured and used to generate/control sound.
• • 1 note
GRAPHIC SOUND VISUALIZERS - XI
Most of the projects feature before under the title “GRAPHIC SOUND VISUALIZERS" were based on generative or reactive sound visualizers.
This time the projects presented are not based on direct automated audiovisual mappings, but they are the outcome of a precise and careful handmade video edition that result in a close relationship between the image and the sound.
Creating this way a deep sense of synasthesia till the point that is unsure if the video is following the music or vice-versa.
• • 4 notes