Visual Music Archive

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formula 

(2000) 

a constantly evolving work updated with each presentation, is a perfect synchronization between Ryoji Ikeda's sound frequencies and the movements on the screen.

formula places the viewer in a binary geometry of space, and exploits the darkness to amplify the perceptions, with outstanding success. Ryoji Ikeda aims for the complete integration of the various elements, composing music, images, lighting and orchestrating the relationships between them through a highly precise score.

 

Source: Ryoji Ikeda's Website

 

 

In live performance, Ryoji Ikeda combines his high impact sound with video projections synched perfectly to the music. Digitally generated graphics, high-speed video sequences and stroboscopic lighting connect with the sound to create a spectacular yet intimate experience for the viewer.

"Utterly mesmeric.. It was a powerfully physical event, probing the effect on the body of visual and sonic repetition and sucking the spectator into a vibrant monotone world." - The Wire

 

Source: Forma

 

 

formula is a concert in which the artist is not on stage. Instead, a huge white screen and stage surface are the setting for an immersive world of projected images, punctuated by dazzling bursts of stroboscopic lighting.

formula [ver.2.3] presents the next stage in the development of this constantly evolving work, which is updated with each performance through a live mixed soundtrack.

formula presents a perfect synchronization between Ryoji Ikeda's sound frequencies and the movements on the screen. It places the viewer in a 'binary geometry of space', and exploits the darkness to amplify the perceptions, with outstanding success.

In this work which occupies a space somewhere between the concert, cinema and installation, Ikeda aims for the complete integration of the various elements, composing music, graphics and video, and orchestrating the relationships between them through a meticulous score.

 

Source: Forma

 

 

formula, found footage, software, Live Visuals, Installation

Reading

META/DATA: A Digital Poetics (2007) by pioneering digital artist Mark Amerika mixes (and remixes) personal memoir, net art theory, fictional narrative, satirical reportage, scholarly history, and network-infused language art. META/DATA is a playful, improvisatory, multitrack digital sampling of Amerika's writing from 1993 to 2005 that tells the early history of a net art world gone wild while simultaneously constructing a parallel poetics of net art that complements Amerika's own artistic practice. (The MIT Press)

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Links

 

SEE ALSO

Brian O'Reilly is the creator of various works for moving images, electronic/noise music, mixed media collage, installation, and is a contrabassist, focusing on the integration of electronic treatments and extended playing techniques. (Brian O'Reilly on Vimeo)

Bioacoustic Phenomena (2010) also known as Hydroacoustic Study by Paul Prudence was originally conceived as a live audio-visual performance piece with sound artist Francisco Lopez for a Spatial Sound event organised by Optofonica at the Smart Project Space in Amsterdam, June 2010. The piece was subsequently developed to work with Paul Prudence's own live audio compositions and sound design. Bioacoustic Phenomenon is live generative cinematic exploration of sonically activated biological events, specifically evolving cellular entities that grow in response to sound vibrations. (Transphormetic)

Digital Harmony (1980): On the Complementarity of Music and Visual Art – John Whitney, Sr. wanted to create a dialog between "the voices of light and tone." All of his early experiments in film and the development of sound techniques lead toward this end. He felt that music was an integral part of the visual experience; the combination had a long history in man's primitive development and was part of the essence of life. His theories On the complementarity of Music and Visual Art were explained in his book, Digital Harmony, published by McGraw-Hill in 1980. (Paradise 2012)

Bob Sabiston (*1967) is an American film art director, computer programmer, and creator of the Rotoshop software program for computer animation. (Wikipedia)

Ryoichi Kurokawa (1978) composes time based sculpture with digital generated materials and field recorded sources, and the minimal and the complexities coexist there. Ryoichi Kurokawa accepts sound and imagery as a unit not as separately, and constructs very exquisite and precise computer based works with the audiovisual language. That shortens mutual distance, the reciprocity and the synchronization of sound and visual composition. (Ryoichi Kurokawa)