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Projects
Form Colour and Time
a
06 2014 Old Wood New Life
02 2014 Object Zone NP
09 2013 Priceless at 5th 3rd Bank US
08 2013 Bible & Snail Mail TIL Gallery
07 2013 Culture Queens Wood
04 2013 Blind Hope Alexandra Palace
04 2013 Dalston Reflections
10 2012 Composition 1 2 & 3
06 2012 Complex Megadisaster NY
02 2012 Local Whispers for Full Rabbit
07 2011 Local Whispers 2 Beijing
06 2011 The Wall at Platform China
06 2011 R Sequence at Platform China
04 2011 Medan Mara Kuala Lumpur
01 2010 Local Whispers at V&A
10 2010 Beacon for London 2012
09 2010 Squaring the Circle Kvadrat
06 2010 Testing The Wheel album
06 2010 Leave A Mark at Sonar Barca
09 2009 See-Sound ProjectC at Shunt
09 2009 Digital Tea Party at Shunt
09 2009 Digital Tea Party for Tent
11 2008 Untitled for Audio Arch
04 2008 Outside-Inside Installation
10 2007 See-Sound for Audio Arch
09 2007 Mirrored Beck's Fusions
04 2007 798 Installation DIAF Beijing
11 2006 Evolution Synthetica at V&A
04 2006 Din-Berlin Generative perform
12 2005 Composition H1 and H2
10 2005 Form, Colour and Time paper
07 2005 George Club London re-design
06 2005 Din-Barca Generative perform
04 2005 Composition L1 and L2
11 2004 Cardinal Place glass canopy
10 2004 Din-NY Galapagos Brooklyn
06 2004 Din-Barca Sonar Week
12 2003 Stream performance London
09 2003 Waldorf Hotel re-design
06 2003 Din-Barca Japan field recording
02 2003 Lighting/Audio Research NY
06 2002 Round at Cube Sonar Week
01 2002 Timber Pod Hotel Heathrow
09 2001 WCMT Research Award
09 2000 Neural Nets within Arch paper
08 1999 Fusion Club Leeds
01 1998 A Maze installation Leeds
06 1995 Meander installation Canterbury
 
kandinsky - point and line to plane

A Paper
A discussion of relationships between marks made on a canvas and their respective sounds. An extract can be viewed below:

Form, Colour and Time
Introduction

'Is it a painters palette'?
If differing frequencies of sound create variations in colour, a likeness can be made with the process of painting.Their placement on the canvas in space, creates a two dimensional relationship between them. Their form in relation to one another implies a third dimension. Inclusion of time adds the fourth dimension and this is where the analogy becomes unstuck. The musical experience, not only relates to spectrum but also to time.*

* "The apparently clear and justifiable division: painting-space (plane). music-time". ("Point & Line To Plane" by Wassily Kandinsky (p.34), published by Solomon R. Guggenheim Foundation).

A story is directly influenced by the style of writing;
indirectly by the text it is written in and the voice that reads it.
A film is purposefully influenced by the images setting a specific scene.
A painting is in-directly influenced by the actual pictoral nature of itself.
Poetry, Sculpture, Architecture and Dance also have these distractions.
Within the arts, music is free from the constrictions of reality with very few in-direct influences for the listener.

To the listener the imagination is unlimited when hearing a musical piece. No pre-determined images are available to relate to, so each and every listener creates a world of their own, specific to that piece. However this has the opportunity to vary with each hearing, as the mood of the listener varies.

The Elements
Types of sounds and their respective qualities

Point/Staccato/Beat

The point can be likened to . or 0 (zero).

In text it serves as the end. Silence.

It is a shock or a jolt that brings us out of our current habitual flow.

It stands on its own as an independent being, breaking out of the space it is in.

It is always juxtaposed to its surroundings.

As the space a point sits in increases, the impact of that point decreases.

It is concentrated matter all falling on one point in space or time.

Only when it is subordinated does it grow a purpose and its inner attributes become clearer.

In music it is the initial collision of the tool with the sound making instrument.

As the size of the point increases so it becomes more powerful.

The point is assumed to be small and round, but can be an unlimited number of shapes. It can take on the shape of a square, triangle or a multitude of irregularities.

These shapes could draw similarities with waveforms in synthesis, (see later notes on synthesis).

Depending on the instrument making the point, it will vary in tone and texture. The more irregular and textural the point becomes the more we see its constituents.

If a point is placed in a plane/timespace its importance varies according to the plane/timespace around it.

If placed central to the plane two sounds are produced but only one is audible as the sound of the plane is too slight to be noticeable.

If placed nearer to the edge of that plane/timespace the double sounds are heard. (The point and the plane around it or the plane and then the point).

Repetition or vibration of the one point gives rise to a basic rhythm and harmony in all art forms. We have an urge to feel at home with repetition or rhythm from early life and upbringing next to our mother's heart.

Groups of points. Nature. The whole world is a point made up of many smaller compositions.

Note the fifth dimension. The point placed at any point in the plane/timespace is played from one or several points in a three dimensional space. The position of the listener in that space and its acoustics influence the experience further.

Written by Experimenter En Couleur
(To be completed with notes on Granular points, Line/Sustain/Movement/Tension, Composition, Intuition in realisation of art).


More info to come.

 

 

© Experimenter En Couleur