VISUAL MUSIC: DISPLAY FORMATS. FULL-DOME PROJECTS. THE LANGUAGE OF A/V SPATIALISATION (original) (raw)

Abstract

If the medium of cinema is born of the addition of temporality to images, new trends in digital art such as architectural mapping video projection, audiovisual (A/V) performance, and new forms of immersive scenography are adding the spatial dimension to the moving image. The latest innovations in the area of digital arts are the result of an acceleration of a trend that can be historically identified through the multiple manifestations of universal expositions. Today’s digital explosion is in fact a consequence of the democratization of instruments that control light, sound, and images through increasingly sophisticated interfaces. Avant-garde artistic approaches, with their constant push toward the dematerialization of artwork, have merged with scenographic spatialization technologies. This merger of worlds has led to new A/V performance productions that reveal the emergence of a new language, namely that of audiovisual spatialization. This language leverages the creative potential of new audiovisual instruments by combining sound and light waves with the spatial component. This paper will address this new approach based on analysis of multiple case studies.

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What role do universal expositions play in audiovisual spatialization?add

The paper illustrates that universal expositions, beginning with the Philips Pavilion in 1958, shaped architectural space into an instrument capable of producing visual music and immersive experiences.

How is A/V spatialization influencing contemporary digital art practices?add

The study shows that contemporary digital art is increasingly embracing A/V spatialization techniques, leading to novel creative compositions that integrate sound and visuals in immersive environments.

What implications do dome structures have for audiovisual performances?add

Dome structures, such as the Satosphère in Montreal, enhance artistic expression by allowing for immersive A/V spatialization that actively engages audiences across varying content types.

How does scanline synthesis establish a relationship between sound and image?add

Scanline synthesis translates pixel values from digital images into audio waveforms, creating unique soundscapes that reflect the visual information of the images used.

What are the characteristics of VJ culture derived from psychedelic light shows?add

VJ culture has evolved from psychedelic light shows, emphasizing real-time visual improvisation that responds interactively to music, fostering communal experiences reminiscent of the original counterculture.

Figures (43)

Figure 1: Yan Breuleux, VjGraph (2014) Transposing content to multiple performance venues

Figure 1: Yan Breuleux, VjGraph (2014) Transposing content to multiple performance venues

purposes of Gaité Lyrique, since it was almost impossible for audience members to take in the

purposes of Gaité Lyrique, since it was almost impossible for audience members to take in the

Figure 2: Dispositifs de diffusion du projet White Box (2011-2014) By synchronizing several computers with multichannel video, I was able to add as many

Figure 2: Dispositifs de diffusion du projet White Box (2011-2014) By synchronizing several computers with multichannel video, I was able to add as many

Figure 3: Y an Breuleux, Enigm(a), 2015

Figure 3: Y an Breuleux, Enigm(a), 2015

to focus or disperse audience concentration using various points distributed in space. Beyond its

to focus or disperse audience concentration using various points distributed in space. Beyond its

Figure 4: Y an Breuleux, Nuée | Swarm (2015)

Figure 4: Y an Breuleux, Nuée | Swarm (2015)

Figure 1: Three-dimensional coordinates of the light field. enhance the richness of artistic expression. the degree of depth (z) can be mapped with musical elements such as volume and accents, which can

Figure 1: Three-dimensional coordinates of the light field. enhance the richness of artistic expression. the degree of depth (z) can be mapped with musical elements such as volume and accents, which can

play” with a stretchy sheet of spandex to create synchronized visual and sound effect. According tc

play” with a stretchy sheet of spandex to create synchronized visual and sound effect. According tc

the melody, which also correspondent with the dancers’ body movements. Figure 3: Hand-painted visual score “Zagu’’. Interval between points or objects viewed as having one, two or three dimensions.”

the melody, which also correspondent with the dancers’ body movements. Figure 3: Hand-painted visual score “Zagu’’. Interval between points or objects viewed as having one, two or three dimensions.”

to Tang Dynasty which shows a musician playing Pipa). Figure 4: Detail of “Night Banquets of Han Xizai” (by Gu Hongzhong). thousand years (Figure 4 is from a famous painting called “Night Banquets of Han Xizai” dating back

to Tang Dynasty which shows a musician playing Pipa). Figure 4: Detail of “Night Banquets of Han Xizai” (by Gu Hongzhong). thousand years (Figure 4 is from a famous painting called “Night Banquets of Han Xizai” dating back

Figure 5: Part 1 (from 0°00” to 1°26”).

Figure 5: Part 1 (from 0°00” to 1°26”).

Figure 6: Part 2 (from 1°26” to 2’30”). To visualize the second “layer” of the music, which is a continuous sound that entered from

Figure 6: Part 2 (from 1°26” to 2’30”). To visualize the second “layer” of the music, which is a continuous sound that entered from

playing heavenly music using Pipa (Figure 7). Figure 7: Photos of the Dunhuang frescoe. heaven. There are large numbers of frescoes in the Dunhuang Caves depicting the goddesses also one of the special musical instruments that considered to be used by Chinese goddesses in the

playing heavenly music using Pipa (Figure 7). Figure 7: Photos of the Dunhuang frescoe. heaven. There are large numbers of frescoes in the Dunhuang Caves depicting the goddesses also one of the special musical instruments that considered to be used by Chinese goddesses in the

and reveal the connections between “now” and “past”. Figure 9: Diagram of the 3D cylinder (spiral path) 3D Visual Score — “The Butterfly Lovers” mood and surroundings also changes our attitude and in turn, influences the memories (p.186). Thus

and reveal the connections between “now” and “past”. Figure 9: Diagram of the 3D cylinder (spiral path) 3D Visual Score — “The Butterfly Lovers” mood and surroundings also changes our attitude and in turn, influences the memories (p.186). Thus

dynamics with three-dimensional path. Figure 10: 3D visual score “The Butterfly Lovers” these auditory attributes can be linked not only to the 2D path, but also the three-dimensional path in

dynamics with three-dimensional path. Figure 10: 3D visual score “The Butterfly Lovers” these auditory attributes can be linked not only to the 2D path, but also the three-dimensional path in

Figure 11: Diagram of the warped timeline

Figure 11: Diagram of the warped timeline

Figure | - Variation of pitch. Cf. Technical notes by Norman McLaren, pag 75, 1969 revised in 1984. was not enough to compose more complex music to his own films. ound”). These experiments continued to be explored when he moved out to New York, in 1939.

Figure | - Variation of pitch. Cf. Technical notes by Norman McLaren, pag 75, 1969 revised in 1984. was not enough to compose more complex music to his own films. ound”). These experiments continued to be explored when he moved out to New York, in 1939.

Figure 4: Four frames from Begone Dull Care. The abstract forms follow the gestures on the contrabass. Print screen.

Figure 4: Four frames from Begone Dull Care. The abstract forms follow the gestures on the contrabass. Print screen.

Figure 5: Two frames from Begone Dull Care. The pictures appear along with the drums. Print screen.

Figure 5: Two frames from Begone Dull Care. The pictures appear along with the drums. Print screen.

Figure 2. Rosacrucis table of Cosmic Vibrations, accompanied of a musical keyboard with the Number of Cosmical Vibrations and their relations to Colors, Chemical Substances and Vocal Sounds (A1=427Hz): G=dark-red; G#=red; A=red-orange; A#=orange; B=yellow; C=greenish-yellow; C#=green; D =blue-green; D #=blue; E=violet-blue; F=violet; F#=violet-blue. (ANTUNES, 1982:15)

Figure 2. Rosacrucis table of Cosmic Vibrations, accompanied of a musical keyboard with the Number of Cosmical Vibrations and their relations to Colors, Chemical Substances and Vocal Sounds (A1=427Hz): G=dark-red; G#=red; A=red-orange; A#=orange; B=yellow; C=greenish-yellow; C#=green; D =blue-green; D #=blue; E=violet-blue; F=violet; F#=violet-blue. (ANTUNES, 1982:15)

Design and Usage The system was initially designed using Max/MSP and had three primary components. The incoming audio. This gives a very accurate hit detection from the incoming audio. The second

Design and Usage The system was initially designed using Max/MSP and had three primary components. The incoming audio. This gives a very accurate hit detection from the incoming audio. The second

Figure 2: A glittering mosaic of birds (derived from the innermost ring of Rose Window panels)

Figure 2: A glittering mosaic of birds (derived from the innermost ring of Rose Window panels)

Figure 3: Messiaen’s cacophony of birdsong is matched by visuals of birds flocking with abandon. Conclusion music and digital culture generally. In its time, Messiaen’s Quatuor was revolutionary; it was pivotal

Figure 3: Messiaen’s cacophony of birdsong is matched by visuals of birds flocking with abandon. Conclusion music and digital culture generally. In its time, Messiaen’s Quatuor was revolutionary; it was pivotal

Figure 1: analog signal: continuous line; digital signal: black squares (discrete values) Source: Smith, Steven W.:Digital Signal Processing, San Diego: California Technical Publishing, 1997 is arrays — of numbers that describe the shape of a single period of an oscillation with discrete values With analog sound generators, oscillations of electric currents are produced by specific circuit designs that generate periodic voltage changes. With digital oscillators these analog oscillations are emulated by so-called wavetables, that can be thought of as lists — usually referred to aS arrays — of numbers that describe the shape of a single period of an oscillation with discrete values. By repeatedly reading through these tables many times per second, and eventual With analog sound generators, oscillations of electric currents are produced by specific

Figure 1: analog signal: continuous line; digital signal: black squares (discrete values) Source: Smith, Steven W.:Digital Signal Processing, San Diego: California Technical Publishing, 1997 is arrays — of numbers that describe the shape of a single period of an oscillation with discrete values With analog sound generators, oscillations of electric currents are produced by specific circuit designs that generate periodic voltage changes. With digital oscillators these analog oscillations are emulated by so-called wavetables, that can be thought of as lists — usually referred to aS arrays — of numbers that describe the shape of a single period of an oscillation with discrete values. By repeatedly reading through these tables many times per second, and eventual With analog sound generators, oscillations of electric currents are produced by specific

Let us first take a look at two different transfer functions: Figure 2: green line: linear scaling, red and blue line: different transfer functions conversions, however apply functions during the conversion, e.g. exponantial functions.

Let us first take a look at two different transfer functions: Figure 2: green line: linear scaling, red and blue line: different transfer functions conversions, however apply functions during the conversion, e.g. exponantial functions.

waveform sound as in the following example:

waveform sound as in the following example:

richness, which is projected through a multispeaker setup. Figure 4: Kobayashi, Ryoho: Scanline Computer Music, here multiple scanlines are used on a static digital image. The values that are extracted are displayed on the right side for the vertical lines and underneath the image for the horizontal lines. Each line generates a separate wavetable.

richness, which is projected through a multispeaker setup. Figure 4: Kobayashi, Ryoho: Scanline Computer Music, here multiple scanlines are used on a static digital image. The values that are extracted are displayed on the right side for the vertical lines and underneath the image for the horizontal lines. Each line generates a separate wavetable.

Figure 5: dance performance in Christopher Jette's Soundlines, performance at CCRMA, Stanford

Figure 5: dance performance in Christopher Jette's Soundlines, performance at CCRMA, Stanford

Figure 1: Minuet No.2 from J.S. Bach, in imagetic scores considered as an artistic methodology of painting musical images (figure 1).

Figure 1: Minuet No.2 from J.S. Bach, in imagetic scores considered as an artistic methodology of painting musical images (figure 1).

Finally, the body also acts as a fundamental gear for the aerial piano operation. In symbolic were alternated every 20 seconds to fortify an experience of circular and imagetic time.

Finally, the body also acts as a fundamental gear for the aerial piano operation. In symbolic were alternated every 20 seconds to fortify an experience of circular and imagetic time.

Language, Ars Electronica, Trasmediale, ISEA (Inter-Society for the Electronic Arts) among others. that do not involve games is what defines gamification, gameficate a non-game action. Games are

Language, Ars Electronica, Trasmediale, ISEA (Inter-Society for the Electronic Arts) among others. that do not involve games is what defines gamification, gameficate a non-game action. Games are

the game experience. Passage is a recent game, however it is a 8-bit game, and can be considered a

the game experience. Passage is a recent game, however it is a 8-bit game, and can be considered a

Figure 3: The game Monument Valey a whole world of gaming possibilities there is no necessity to stick just with one. When talking about new gaming experience worth mentioning John Dewey who comments be honest, is in fact required such differentiation and categorization?

Figure 3: The game Monument Valey a whole world of gaming possibilities there is no necessity to stick just with one. When talking about new gaming experience worth mentioning John Dewey who comments be honest, is in fact required such differentiation and categorization?

audience is out of it. This emphasizes the idea of an atmospherical experience, absorbent and factor that allows the audience the time to explore the space thoroughly being then able to interact

audience is out of it. This emphasizes the idea of an atmospherical experience, absorbent and factor that allows the audience the time to explore the space thoroughly being then able to interact

they can be reproduced and manipulated. Fig 3: The Crystal Baschet, Bernard and Francoise Baschet, 1952. Sound and Image

they can be reproduced and manipulated. Fig 3: The Crystal Baschet, Bernard and Francoise Baschet, 1952. Sound and Image

1S a listener my own preference is the option to experiment. My istening system has a mixer instead of a receiver, an infinitely variabli peed turntable, filters, reverse capability, and a pair of ears (Oswald 985:4). Final C onsiderations became "Dab") and others.

1S a listener my own preference is the option to experiment. My istening system has a mixer instead of a receiver, an infinitely variabli peed turntable, filters, reverse capability, and a pair of ears (Oswald 985:4). Final C onsiderations became "Dab") and others.

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