In the last month I spent some time revising Parhelia a real-time visual-music piece originally made last year and performed at Electrovision, London. In the work sample based mechanical sounds are used to orchestrate a family of concentric forms in space. The scenes suggest the workings of a mechanism where geometric component parts interact with one an another triggering corresponding sounds (and vice-versa).
The patching schematic involved became quite large so it made sense to create a set of modular sub-patches running from the main control patch. Isolating specific tasks as modules allows them to be re-used and scaled accordingly for use in new work.
The image above shows the main patch and 15 sub-patches that make up Parhelia layered together. A much larger high-resolution screen grab can be found HERE, in which you can see the specific organisation of nodes within Parhelia. I’m particularly interested in the aesthetics of patch schematics generated by the constraints of visual programming and how personal patching styles drive the structures in visual programming languages.
Parhelia has been featured at CreativeApplications.net.
Talysis II is finally documented with an online video.
‘Talysis II is the first piece in a series of artworks exploring the process of video feedback to create auto-catalytic self-generating artworks. Mimicking the classic analogue video feedback process, this software simulation creates complexity from an economy of means. A simple shape (a square) is passed around a loop of renderers. Transformations of the square are applied to its conveyance around the loop resulting in a multitude of feedback species, geometric tessellated formations, that transform and reconfigure over time. The strict symmetries, quasi-hyperbolic surfaces and parabolic forms generated from this machine monologue allude to the works from Perceptual and Op-Artist movements of the 60’s – Caption included at Optofonica Museums Night, Amsterdam, 2010.
Art.ficial Emotion 3.0, São Paulo, 2006.
Playgrounds AV Festival, Tilburg, 2007
Zero to Infinity, London, 2008
Bridges, Budapest, 2009
Optofonica Museums Night, Amsterdam, 2010
Patch Schematics – The Aesthetics of Constraint for Creativeapplications.net
I recently wrote guests posts for the the well-know technology/art sites Creativeapplications.net and Creatorsproject.com:
Patch Schematics – The Aesthetics of Constraint, written for Creativeapplications, explored the self-organising aesthetics of visual programming languages. The article also looked into ways in which programming patterns might be applied to create optimised modular, reusable and readable software. Click HERE to read the article.
Re-Conditioning Our Perceptions With Phenomenological And Sensorial Artworks, written for Creatorsproject, examined the work of a collective based in Amsterdam called Optofonica:
Optofonica is an ongoing project and experimentation lab devoted to the investigation of ephemeral art-science—inter-media artworks often employing advanced sound spatialization techniques. Much of Optofonica’s interest lies in the exploration of the phenomenological and sensorial manifestations of light and sound, including areas such as nanophotonics, psychoacoustics, hydrodynamics, and quantum chemistry. Click HERE to read the article.