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.

"Within Versum one can undertake three dimensional journeys in virtual space, comparable to the way one can move through space in a first person shooter game. These journeys take place in both visual and sonic space. Hence these journeys result in musical compositions, as the sound depends on the direction and the speed with which one travels. Basically Versum offers the possibility of travelling past threedimensional sound-emitting objects, called Entities, which produce all types of sounds which are either continuous or rythmical and pulsating. As you approach objects you hear them become louder, and if you travel further you will slowly hear it fade away, while the other objects that you travel towards become louder. Entities which are to the right of the camera will be heard from the right and those that are above or behind the camera will be heard from above or behind, if enough speakers are used and placed in the right positions. All the aspects of this journey can be created and modified in realtime: both the path of the journey and the entities which the virtual camera meets during its travels can be changed according to the whishes of the composer. Go is my second composition made in Versum."

 

Source: Tarik Barri's website

 

 

Versum: Go, stripes, real time, software, Video Clip, Interactive, Code

Reading

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)

Audiovisuology: See this sound (2010) - An Interdisciplinary Compendium of Audiovisual Culture. This all-embracing compendium brings together texts on various art forms in which the relationship between sound and image plays a significant role and the techniques used in linking the two. The entire spectrum of audiovisual art and phenomena is presented in 35 dictionary entries. (Cornerhouse)

Computer Music Journal: Visual Music (2005) - The articles in this issue are all devoted to the topic of Visual Music: audiovisual creations in which the artist strives to endow the video component with formal and abstract qualities that mimic those of musical composition. (Computer Music Journal)

 

SEE ALSO

Aphex Swarm (2008) is a Visual Muisc clip by Reza Ali. The base video material was a flocking simulation in Maya. The audio track is Girl/ Boy Song (18£ Snare Rush Remix) by Aphex Twin. (Reza Ali)

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. It places the viewer in a binary geometry of space, and exploits the darkness to amplify the perceptions, with outstanding success. (Ryoji Ikeda)

‘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)

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)

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)