Visual Music Archive

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audioreactive 

(2009) 

by Jorinna Scherle is based on the principles of minimal music and visualizes microtonal events such as frequency, duration, tone pitch and sound volume in 3D environments.

audioreactive is one part of Jorinna Scherle's final exam at the University of Applied Sciences in Wiesbaden.

At first developed and designed independently, the 3d-setups reveal their connection to the sound through the animation in many different ways. The audio influences and controls variables such as position, size, color, light, texture or physical principles like gravity or magnetism. (Programming in C4D/Xpresso).

 

The audioreactive series encompasses following pieces:

POLY:GON (sound: Tim Hecker)

E-LINES (sound: DACM, Tim Hecker)

MAGNETO (sound: Tim Hecker)

SW (sound: Radiohead)

CHENILLE (sound: Fennesz)

 

 

audioreactive, mittig, berlin, Video Clip

Reading

‘vE-”jA: Art + Technology of Live Audio-Video (2006) by Xarene Eskander is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads. (VJ Book)

Notation. Calculation and Form in the Arts (2008) is a comprehensive catalogue (in German) edited by Dieter Appelt, Hubertus von Amelunxen and Peter Weibel which accompanied an exhibition of the same name at the Academy of the Arts, Berlin and the ZKM | Karlsruhe. (ZKM)

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)

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SEE ALSO

_grau (2004) is a personal reflection by Robert Seidel on memories coming up during a car accident, where past events emerge, fuse, erode and finally vanish ethereally. Various real sources where distorted, filtered and fitted into a sculptural structure to create not a plain abstract, but a very private snapshot of a whole life within its last seconds. Music by Heiko Tippelt and Philipp Hirsch. (Australian electronic music, arts, media, project listings)

playZero (2010) by Victor Morales was originally part of an opera called Playzero made at Festspielhaus St. Pölten in June 2010. Music by Wolfgang Mitterer.

Mate Steinforth (*1977) is a German designer and director. Under his VJ alias of mateuniverse, he has been touring Europe. His visual style as a VJ has been described as deconstructionist abstract, with three-dimensional objects creating impressing effects of space and depth. His understanding of the art is deeply rooted in the attempt to be able to immediately respond visually to any given auditive and emotional situation. (Mate Steinforth)

Transforma (Baris Hasselbach, Luke Bennett and Simon Krahl), a Berlin based video artist collective, combine the momentum of VJ improvisation with the power of highly composed imagery and narrative. Transforma started producing experimental video art in 2001 and have been taking their imageworld and production processes to higher levels of absurdity ever since. They have worked on promos, concert video and live cinema approaches, in collaboration with Apparat and Funkstörung among others, and have VJed in clubs in Berlin and around Europe. (CueMixMagazine)

Permutations (1966) by John Whitney, Sr. was an early artistic film constructed entirely off the black-and-white monitor of a large computer system (IBM 360, IBM 2250 Display, written in GRAF and FORTRAN). Color was added by editing with an optical printer. It is an elegant abstract work composed of architectures of color dots that develop pattern while displaying a kinetic rhythm. This early work has had an immense influence on the later generations of computer animators. (Paradise 2012)