Chromophore

(2013)

by Paul Prudence is a real-time audio-visual performance work that uses a bi-directional communication between audio and visual systems to create colour-shape-sound modalities. Made with VVVV.

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Chromophore, vvvv, real time, generative, Live Visuals

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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)

Farbe-Licht-Musik – Synästhesie und Farblichtmusik (2005) by Jörg Jewanski and Natalia Sidler focuses on the research on the color-light-music of Alexander Lászlo who in 1925 achieved overwhelming success with his multimedia show. A short time after his new art form fell into oblivion. The autors of this work revived and developed the experiments of Lászlo: his music has been rediscovered and coupled with actual visuals. (Natalia Sidler)

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Paul Prudence is an artist and real-time visual performer working with generative and computational systems. He is particularly interested in the ways in which sound, space and form can be synthaesthetically amalgamated.   Paul Prudence has performed and lectured at numerous international shows, festivals and conferences. Researcher and writer at Dataisnature. (Transphormetic)

Cyclotone (2012) by Paul Prudence cross-wires sound and video material to create multi-modalities using a variety of algorithmic strategies, further synergies are created by employing associative, metaphorical and perceptual bindings between the visual and sonic domains. The work takes conceptual cues from cyclotrons and particle accelerators and is inspired to commemorate the first wave of Russian cosmonauts who conquered space physically as well as the artists of the Constructivist movement who conquered space conceptually. (Paul Prudence)

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)

Messa di Voce (2003) by Golan Levin, Zachary Lieberman, Jaap Blonk, and Joan La Barbara augments the speech, shouts and songs produced by a pair of vocalists with real-time interactive visualizations. The project touches on themes of abstract communication, synaesthetic relationships, cartoon language, and writing and scoring systems, within the context of a sophisticated, playful, and virtuosic audiovisual narrative. Custom software transforms every vocal nuance into correspondingly complex, subtly differentiated and highly expressive graphics. Messa di Voce lies at an intersection of human and technological performance extremes, melding the unpredictable spontaneity and extended vocal techniques of human improvisers with the latest in computer vision and speech analysis technologies. (Golan Levin)

VJ: Audio-Visual Art + VJ Culture (2006) edited by D-Fuse. A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term denoted the presenter who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and in sync to music, whether at dance clubs and raves or art galleries and festivals. This book is an in-depth look at the artists at the forefront of this dynamic audio-visual experience. (Laurence King Publishing)

ray vibration is a realtime audio-visual performance by Tina Tonagel, Christian Faubel and Ralf Schreiber. Three overhead projectors, three screens and three sound systems. Different electro-kinetic devices, machines and instruments are placed on the projectors. They produce movement and sound. The small sounds of what happens on the projectors are filtered, distorted and amplified. At the same time a triptych in cinemascope format displays magnified, filtered, distorted images of what happens on the screens/fresnel lenses of the projectors. (ray vibration)

Hammerhaus (2010) by Kurt Laurenz Theinert (visual piano) and Axel Hanfreich (sequencer). The music is insignificant in the positive sense, autoreferential, and its visual equivalent is the rectangles and lines with which Theinert fills the screen. Hanfreichs Minimalist sounds resonate like impressions from an abstract world that knows no natural noises, not even diagonals but only right and left, top and bottom - as if Mondrian had painted the music. (Kurt Laurenz Theinert)

Versum: Go (2010) is created in a realtime three-dimensional audiovisual composition tool programmed by Tarik Barri. It forces both the audience and the composer to look at the music and listen to the visuals. (Tarik Barri)

Visual Music Archive

Chromophore

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