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These are the latest in my ongoing series of Session Drawings.
Screech Owl from Adam Hinterlang on Vimeo.
This video was created from layers of footage used at an event at the Museum of Contemporary Art in Chicago for an event called Face the Strange featuring Kranky Records group Implodes. The software used to generate the imagery was developed by Sydney, Australia-based artist and computational designer René Christen. The song used for this video is called Screech Owl from their 2011 album "Black Earth."
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This is a collaboration with Portland, Oregon based artist Dylan J. Beck and LSU Psychology Professor Melissa Beck that utilizes research data, industrial production methods, and digital animation. Animations were created with data derived by Professor Beck where the eye movements of participants viewing Dylan Beck's installation were recorded.
The images above show the template that was used to create the graphics later used in the animated work. Black outlined circles indicate areas of fixation—areas where viewers spent time focusing—and the numbers indicate the order in which they were viewed. The images that follow are the template for each individual animation. The last few images show how the piece was installed onsite.
Session Drawing 14V4 (Key of C), 1 minute, 2013.
Session Drawings 11V1 (Bmin7♭5—10 minutes), 10V2 (Emin—7 minutes), and 3V3 (Gmaj—4 minutes), 21 minutes, 2013
This is basic mockup of how the videos would sound when played simultaneously within a space. A key difference here is that in a gallery setting, the videos are meant to be played asynchronously so that the sound in the space continuously evolves
Headphones are strongly recommended.
Session Drawing 11V1 (Bmin7♭5), 10 minutes, 2013
Session Drawing 10V2 (Emin), 7 minutes, 2013
Session Drawing 3V3 (Gmaj), 4 minutes, 2013
The animated work is about extending the ideas of cycles and transformation that are of central consideration in making the Session Drawings. The images are animated in a way that changes in position and form are often subtle and easy to miss over an extended period of time. Sound for each animation is in the same musical key with the intention of all running simultaneously and asynchronously as a single, multichannel piece. Variations in duration between the individual animations as they run together create an evolving soundscape that fills the space. The continuing cycle of harmony and dissonance reflect moments where lines cross or run in parallel.
Each animation is created by first creating an austere system of rules that must be followed precisely. Rolling dice determines everything with each pip given a numeric value. Through this process, the rolling of dice determines factors such as duration, where the particular image will appear in the composition, etc. This system effectively removes me from determining a final outcome in the work. In this way, the rules act as a proxy for natural phenomena.
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I've chosen to entitle this body of work Session Drawings because the layers if each drawing arrive at their level of completeness over the course of an arbitrary duration or session. Duration may be dictated by simply deciding that a layer is finished or simply on account of mundane interruptions from everyday life. More than one layer can be finished in a session. However, if one layer is completed and the next layer is left in an unfinished state, that’s how it will remain. Something that I begin one night will not be worked on again on the following morning. When a session is over, it’s on to the next.
The idea was born out of an interest in cycles (natural and unnatural) and the idea of change. In life, we are in a continuous state of flux, changing a little bit every minute of everyday. These drawings are a record of that change for me personally—though I believe that this notion extends to everyone and everything. For example, how I might hold a pen one day versus the next, where it hits the page, the kinds of marks that are made, etc are a reflection of small but significant traces of a perpetual state of transformation. The point is not about what a final drawing looks like but is about a process that is whose focus is on the present moment.
This piece is part of a larger exploration in and development of a relationship between color and sound. While there is no literal aural equivalent of a color or chromatic equivalent of a sound (not to be confused with the term "chromatic" in music theory in reference to chromatic scales, for example), I am interested in equivalent, sensorial experiences.
The images used in this piece are derived from one of my sketchbooks and are used here to create an abstract landscape. The color of the images corresponds to the sound generated which, in turn, is generated by taking the colors frequency in THz and simply generating the sound in a range that we can actually hear (The colors in the visible spectrum have a frequency interval that ranges between ~ 430–750 THz, well beyond the range of human hearing—which is approximately 20-20,000 Hz). To widen the range a bit, I doubled and halved the frequency number so as to expand the frequency range into 8 octaves (when going beyond 8 octaves, the shifting of the tone becomes difficult to discern).