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Cyclotone 

(2012) 

by Paul Prudence cross-wires sound and video material to create multi-modalities using a variety of algorithmic strategies.

Cyclotone 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.

 

Source: Paul Prudence

 

 

Live footage of my audio-visual performance at Arc Festival, Bristol, 2013.

I repurposed Cyclotone to accommodate the expansive 22m x 3.4m arc shaped screen which spanned the full width of the venue.

 

Source: Paul Prudence on Vimeo

 

 

Cyclotone, real time, natural science, generative, Live Visuals

Reading

Expanded Cinema (1970) - In a brilliant and far-ranging study, Gene Youngblood traces the evolution of cinematic language to the end of fiction, drama, and realism. New technological extensions of the medium have become necessary. Thus he concentrates on the advanced image-making technologies of computer films, television experiments, laser movies, and multiple-projection environments. Outstanding works in each field are analyzed in detail. Methods of production are meticulously described, including interviews with artists and technologists. (John Coulthart)

The Art of Projectionism (2007) by Frederick Baker (in German) sets out the principles behind his use of projectors in the film making process. He defines a projectionist school of filmmaking and media art. In this publication he also presented Ambient film, a surround experience that can be shown in specially developed cinemas. (Wikipedia)

Links

 

SEE ALSO

Synesthesia: A Union of the Senses (2002) by Richard E. Cytowic disposes of earlier criticisms that the phenomenon cannot be real, demonstrating that it is indeed brain-based. Following a historical introduction, Cytowic lays out the phenomenology of synesthesia in detail and gives criteria for clinical diagnosis and an objective test of genuineness. (MIT Press)

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)

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)

Iannis Xenakis (1922–2001) was a Greek composer, music theorist, and architect-engineer. He is commonly recognized as one of the most important post-war avant-garde composers. Iannis Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. (Wikipedia)

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)