Visual Music Archive

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Amalgation 

(2009) 

is a synthesis of analog and digital sounds where traditional instruments meet digitally generated sounds created with Pure Data.

This live audiovisual performance was the first of PMP's attempt in exploring the relationship between sound and visuals.

 

Bin (Ong Kian Peng): "For Amalgation I created a Pure Data patch which I passed to Felix and asked him to play around with it. Based on that, I then asked him to think of what he would like to play with based on the sound of the patch (Kalimba, Bass). Finally I created a visual score which was used as a guideline for the music and visuals. This is basically the work process I use for all pieces. The final piece was fine tuned in our jamming sessions with Felix on the instruments and Ivan on laptop (Pd). While I will direct and control the visuals."

 

 

Amalgation, kugeln, Live Visuals

Reading

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)

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

‘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)

Links

 

SEE ALSO

circulation (2009) by Itaru Yasuda is a generative audiovisual installation made with Processing and SuperCollider. (Itaru Yasuda)

Point Line Cloud (2001) is a collection of audio and video collaborations between Curtis Roads and Brian O'Reilly, it has been a ever shifting project over the years which constantly continues to evolve. The first performance of the materials that grew into the project was in 2001 at a concert with Autechre and Russell Haswell in Los Angeles. Since then it has been performed in many diverse venus around the world. (Brian O'Reilly on Vimeo)

Sonar (2009) by Montreal-based designer Renaud Hallée is a musical loop generated by shapes with cyclic behaviors. A basic keyframe animation using flash, without scripting. (Renaud Hallée on Vimeo)

Opus I (1921) - Music by Max Butting. Walther Ruttmann's Opus 1 is the first abstract or absolute work in film history screened publicly. Instead of containing depictions of reality, it consists entirely of the colors and shapes already formulated in Ruttmann's Painting With Light manifesto. In 1919, he writes that, after nearly a decade, he finally "masters the technical difficulties" struggled with as early as 1913 while executing his formulated idea. (Media Art Net)

Kandinsky (2009) edited by Tracey Bashkof is the first full-scale retrospective of the artist's career to be exhibited in the United States since 1985, when the Guggenheim culminated its trio of groundbreaking exhibitions of the artist's life and work in Munich, Russia, and Paris. This presentation of nearly 100 paintings brings together works from the three institutions that have the greatest concentration of Kandinsky's work in the world, the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Städtische Galerie im Lenbachhaus, Munich; as well as significant loans from private and public holdings. (Guggenheim)