Audio Visual Spatial at Kunstkapel

06.14.16 | Permalink | Comment?

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

On the 15-16th April 2016 I gave two performances at the iconic Kunstkapel in Amsterdam for Audio Visual Spatial – The Generative Cinema. The performances took place on a fully panoramic 360° display consisting of 14 spanned projectors:

‘Cloud at Kunstkapel continues its ongoing investigation of performance work in the realm of the AUDIO VISUAL SPATIAL at this unique circular landmark space with one of its most challenging programs to date: The Generative Cinema: Living Abstractions and Related Mind-benders.

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

Cyclotone MXCycltone at Audio Visual Spatial, Kunstkapel .

‘The Generative Cinema has been referred to as an essentially live cinema which makes for a powerful medium for performance that brings together an incredible array of technical developments as well as associative philosophy. Generative Cinema suggests an ultimate integration of computational, structural, musical and ultimately organic principles that for some is a reasonable illustration of the process of life itself. Programs that establish a specific visual pattern language driven by a structural logic for change and elaboration are set in motion. These immersive environments create a powerful space for reflection and interaction for the audience’.

Cyclotone II

‘The curvature of the KunstKapel will add a greater challenge and dimension to Generative Cinema practice, placing it at the service of a panoramic interactive space that engulfs its audience in its particular reality. While the same performers will be present for both programs it is well understood that the event will be extremely different from one evening to the next which in itself is an important aspect of the Generative Cinema’

Cyclotone.MX for Mutek Mexico, 2015

05.17.16 | Permalink | Comment?

Lumophore II [Edit]

Cyclotone.MX is a full-dome fixed-media version of a previous performance work commissioned for Mutek Mexico, 2015 and screened at Papalote Museo del Niño.

‘By gyrostatic action, The Machine is transparent to successive intervals of time. It does not endure or ‘continue to be’, but rather conserves its contents outside of time, sheltered from all phenomena. The Machine’s immobility in Time is directly proportional to the rate of rotation of its gyrostats in space. From How to Construct a Time Machine, Alfred Jarry

Cyclotone MXCyclotone.MX at Papalote Museo del Niño.

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Cyclotone MXCyclotone.MX

Stills of the piece can be found here.

Video documentation of the piece can be found here.

Lumophore II for SAT/Elektra 16 Festival

05.08.16 | Permalink | Comments Off on Lumophore II for SAT/Elektra 16 Festival

Lumophore II [Edit]

Lumophore II is a full-dome ‘colour-sound’ performance work commissioned for Elektra 16 Festival and performed at the Satosphere dome for SAT Symposium in 2015:

‘Paul Prudence presents Lumophore II, an audiovisual spatial-sound performance at the Satosphere. The artist draws inspiration from a luminophore, a light-emitting atom or group of atoms. During the performance, the audience becomes an integral part of the space, traveling to the atom’s center. Paul Prudence produces complex, immersive audiovisual works that offer the public a truly sensory experience’ – Elektra Festival

Lumophore IILumophore II

Lancé par Lumophore II, performance audiovisuelle synchronisant couleurs, formes et sons pour créer un récit architectural abstrait de “son géométrique” avec spatialisation stéréoscopique de la trame audio – SAT

Lumophore IILumophore II

Lumophore IILumophore II

Lumophore IILumophore II

Lumophore IILumophore II

Lumophore IILumophore II

Lumophore IILumophore II

Lumophore IILumophore II live at the Satosphere, Montreal, 2105

Lumophore IILumophore II live at the Satosphere, Montreal, 2105

Lumophore IILumophore II live at the Satosphere, Montreal, 2105

Stills of the piece can be found here.
Video documentation of the piece can be found here.

Related work: Lumophore I

Neural #48 Sound Reconfigurations

04.19.16 | Permalink | Comment?

Neural Magazine Sound Reconfigurations: Format Resurrection, Itinerant Playback & Sonic Entropy in Neural #51

For issue #51 of Neural Magazine I was commissioned to write an article on masterpieces of sonic entropy. The essay was entitled Sound Reconfigurations: Format Resurrection, Itinerant Playback & Sonic Entropy:

The resurrection of new sonic material from broken records, disintegrated tapes and stuttering CD’s is a practice which is as rich and as long as the history of the formats themselves. For some sound artists, a formats destruction and subsequent reconfiguration is a form of constructive nihilism; a provocation against the value of ubiquitous cultural artefacts and an attack on the commodification of music. Others have focused on the aesthetic ramifications of format reconstitution. They have re-engineered records and CD’s to coax errant mechanical behaviour from playback systems in order to inject chance and accident into their compositions. The sound of material decay has been deployed as a way of intimating aspects of memory and read errors have been aestheticized to locate a new sonic language of clicks, skips and stutters. While some artists would harness the sound of degraded tapes and CDs with minimal intervention, others would wreak havoc on records, intentionally destroying them and then piecing them back together to transform old recordings into new, challenging sound structures.

Neural Magazine Sound Reconfigurations: Format Resurrection, Itinerant Playback & Sonic Entropy in Neural #51

Cyclotone II [LEV & Elektra Festivals]

06.05.15 | Permalink | Comment?

Cyclotone II

‘The structure of the system consists of rigid rods and rapidly rotating flywheels mounted on rods….By gyrostatic action, the machine is transparent to successive intervals of time….The machine’s immobility in time is directly proportional to the rate of rotation of its gyrostats in space’ – How to Construct a Time Machine, Alfred Jarry

Cyclotone II

For the past two to three years Cyclotone has been my most requested audio-visual performance piece. In early 2015 I began work on a new version, refining the existing work with the explicit aim of trying to make the finale more intense. Cyclotone II has greater visual complexity then its predecessor and while the finale fixates upon fast moving geometric concentric mechanisms, the early sections take on an evolving meditative flavour. Cyclotone II was premièred a LEV Festival in Gijon and subsequently performed at Elektra Festival in Montreal, in 2015.

CyclotoneIICyclotone II live at Elektra Festival, Montreal May 2015

CyclotoneIICyclotone II

CyclotoneIICyclotone II

CyclotoneIICyclotone II

CyclotoneIICyclotone II

CyclotoneIICyclotone II

CyclotoneIICyclotone II

Stills of the piece can be found here.

Videos of Cyclotone (I) can be found here and here

Full Dome Lumophore

03.11.15 | Permalink | Comment?

Lumophore, as documented in full-dome format, at Plums Festival of audio-visual culture which took place in Moscow, November 2014.

LumophoreLumophore – Plums Festival, Moscow

LumophoreLumophore – Plums Festival, Moscow

LumophoreLumophore – Plums Festival, Moscow

LumophoreLumophore – Plums Festival, Moscow

Here is a fragment of an interview I gave with Marina Antsiperova about the piece:

While working on this video piece did you think in any way about Russian audience or “Russian cosmic research”?

For many years I have been interested in the Russian Avant Garde especially during the dynamic and highly experimental decade of the 1920s. I’ve been immersed in surveying its music, visual art and its architecture from an aesthetic and philosophical viewpoint alongside its utopian ideals. Recently I discovered Andrey Smirnov’s book ‘Sound in Z – Experiments in Sound and Electronic Music in Early 20th Century Russia’. The book explores the earliest examples of sound synthesis, graphical and ornamental sound, psychoacoustics, noise machines, electroacoustics and visual music. Since my audio-visual performance work is specifically involved in exploring the ‘cross-wiring’ of sound, space and form to create complex and precise time-based geometric narratives, this book was of great interest to me. I would imagine the influence of artistic movements on my work may well have some resonance with Russian audiences.

Lumophore video edit

I know that you are fond of soviet architecture. Did you see Kaluga planetarium building, what you think about it?

I am a huge fan of Soviet architecture, especially those that arose from architects involved in the Constructivist and Suprematist movements such as Chernikov, Melnikov and Leonidov. The Kaluga planetarium building looks equally stunning, and although built much later (completed in 1967) it appears to have been influenced by the aforementioned architectural style. It’s also notable that the complete structure of the State Space Exploration Museum, in which the Kaluga Planetarium is home to, appears to take the form of concatenated parts of a spacecraft or rocket.

Stills of the piece can be found here

Neural #48 Data Transmutations

12.10.14 | Permalink | Comment?

NeuralData Transmutations – Making Sound Sense of Big Data in Neural #48

Over the course of the last 3 year I’ve been contributing to the printed version of the long running, Italian based, Neural magazine, founded by Alessandro Ludovico and Ivan Iusco. The magazine deals with the intersection of new media art, electronic music and hacktivism. I’ve contributed many small articles on artist projects (some reposted at Dataisnature) and conducted interviews with artists and theorists. The most recent edition #48, Uncanny Abundance, contains an essay I wrote on ‘big data sound art’ with the title: Data Transmutations – Making Sound Sense of Big Data.

The article explores both scientific sonification of data, for functional pattern recognition, as well as composers who use environmental data as raw material for parametric audio and as an agent for stochastic composition. It surveys the role of mapping strategies between data and sound, explores preconceptions of ‘enclosed meanings’ and raises questions on the neutrality of the sonification process as a form of interpretation. The bulk of the article explores individual data-sound pieces that tackle these issues – works that cross-fade the science of sonification with the art of poetic interpretation. The issue also contains an interview I made with Tae Hong Park, author of the Citygram sonic mapping project. Previous interviews, for Neural, have included ones with Jennifer Kanary Nikolov, Herwig Weiser and Mitchell Whitelaw.

Chromophore | XcoAx, Porto

11.30.14 | Permalink | Comment?

Chromophore [XcoAx]

In June 2014 I performed a restructured and extended version of Chromophore at the Monastery of S. Bento da Vitoria for the xCoAx [Aesthetics, Computation, Communication & X] conference, in Porto. I also gave a presentation of a short paper on the same piece, which explores some technical and aesthetic aspects of the work. The paper also contained an overview of the creative process beginning with field recording sessions and ending with a complete audio-visual performance. A PDF of the paper can be found here.

ChromophoreAbleton Live arrangement view (click here for full size image)

The screen-shot above shows the complete Ableton Live arrangement view for Chromophore. The of top half of the tracks represent sound design material, while some of the bottom half are responsible for sending Midi data to VVVV for precise synchronisations. Midi Data also flows in the opposite direction, from VVVV to Ableton Live. Triggered by generative objects in a 3D visual system, Midi is sent to top track, in Live, which is a Sampler. In this way multiple instruments/sounds/samples and filters can be accessed by tweaking the visuals during a performance.

Elektra-Mutek EM15, Montréal

11.25.14 | Permalink | Comment?

MutekCyclotone Performance at Elektra-Mutek 15, Montréal

Montréal’s well-know digital arts and electronic music festivals joined forces this year to celebrate 15 years of activity in the form of EM15. I was involved in the Para-visions night of A-V performances which took place in the impressive Impérial Theatre. Here’s a review of my performance, Cyclotone, by Daryl Keating, at Exclaim:

‘Dovetailing sharp sound design and conceptual graphics using only black, white and grey tones, Prudence brought the audience on a stark journey through cyclical space. For the duration of the piece, the visuals focused on one centre point around which everything interacted. [..] After being drawn into the point, the viewer was then shown the flip-side of the universe, so to speak, from the other side of the hole. Here, tornadoes of graphics centripetally swirled around the black hole, seemingly sucking in all known matter in the universe. Interestingly, despite how strikingly digital the entire performance was, it still managed to evoke emotion — mainly foreboding and dread that all life is gradually spiralling down an unstoppable wormhole’

MutekCyclotone Performance at Elektra-Mutek 15, Montréal

I was also invited by Greg Smith, of HOLO magazine and CAN, to a live Q&A session. Here is part of Greg’s review, A/Visions, Synesthetic Fever Dreams, that was published at Creativeapplications.net:

‘Our two sessions were quite distinct, but a few common threads drew them together. Biederman and Prudence both talked at length about the ‘liveness’ of performing visuals, and how there was a fine balance to be struck between developing overly-constrained workflows versus more improvisational setups that (can) invite cataclysmic failure. The interplay between sound design and visual composition was also central to both conversations and whether within the artist/composer relationship of Biederman/Thibault or Prudence’s manipulation of field recordings, both camps carefully described their nuanced approach to fusing sound and image. These exchanges were relatively free wheeling and it was great to have the artists field high-level questions from audience members like Naut Humon and Patti Schmidt’.

Photographs of the Para-visions night can be found here.

Photographs of EM15 performances, workshops and exhibitions can be found here

Quanta

07.07.14 | Permalink | Comment?

Quanta

Quanta is a recently completed A-V work performed at, and made for William Basinski’s Arcadia curated series which took place in March 2014. As with previous works there is a conceptual framework based on scientific concepts which is used to drive the narrative and loosely define the aesthetics of the piece. A sound scrying session with previously collected field recordings of the industrial and technological landscape generated a series of dislocated associations and insinuations based around the theme of light quanta and the behaviour of related elemental particles within a surrounding topography. In the context of these new sonic associations a parametrised sketch of movements, behaviours and triggers, within a generative system, was created leading to the final performance work.

QuantaQuanta

QuantaQuanta

QuantaQuanta

A Flickr set of stills from Quanta can be found here.

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