Untitled, 2012
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).
Ruby, 2011
I shot the source video for this a while back after I gave my dog, Ruby, a bath. I chose a 12 second section section with several layers of video timed slightly differently than the others to see how the sound and the video would go out of sync (thinking about Steve Reich's work with tape loops and phases[/url]). What begins with a small terrier frantically trying to dry herself off on our unmade bed quickly evolves into an abstract display of flowing forms, color and sound that removes itself more and more from it's original context.
Untitled (Screech Owl), 2011
Untitled (Meadowlands), 2011
Untitled (Screech Owl II), 2011
This is based on a live performance I was involved in at the Museum of Contemporary Art in Chicago with the band Implodes, and Sydney Australia-based artist and computational designer Rene Christen back in November of 2010.
Using an application that Rene designed, I ran a live audio feed from a microphone that was placed in front of the band directly into my laptop. The application, which utilizes two monitors, used one as a canvas and the other the actual resulting, evolving composition that was projected as a backdrop for the band. On the canvas side, on the bottom the wave form from the audio feed was visible and divided into 256 sections. Each of these sections was a layer that could be selected and drawn on. The opacity of each layer was determined by the volume of the area selected. Above the wave form was the actual canvas area that was used to make the drawings using a digital drawing tablet. Additionally, there was an array of effects that could be applied and adjusted in real time (fades, blurs, passes, glows, etc).
This was created using a song called Screech Owl, featured on Implodes new release, Black Earth on Kranky Records.
Untitled (Six Color Study), 2011
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