This visual interpretation of Rocking Mirror from Takemitsu’s Yureru kagami no yoake references the tradition of visual music, and the work of artists such as Oscar Fishinger, Hans Richter, and Wassily Kandinsky, by creating a synesthetic experience based on non-objective imagery. While many of the time-based formal elements in this animation are intended to be non-representational, some of the imagery breaks from this tradition and lends itself to the creation of more figurative scenes. However, the works of early German motion designers, such as Viking Eggeling and Hans Richter have been referenced here in some of the first few scenes presented in black and white. This tradition is continued chronologically as Fischinger’s work gives inspiration for the end sequence.
This work was part of Musicians’ Forum: AIGA Centennial Celebration of Music and Design, a collaborative performance project between members of the AIGA, the professional association for design, and New World Symphony Fellows.
“body without organs” is an experimental animation that explores the mystical singularity of the body in terms of its separate functioning parts. Philosophers Gilles Deleuze and Félix Guattari use this term to refer to the “cosmic egg” of life.
Some examples in a series of electronic audio sequencers and oscillators encased within ceramic forms. The ceramic forms are derived from a design and fabrication process starting with a 3d model conceived in the Rhino cad program. The negative of this model is cut from foam using a cnc milling machine in order to create a well that can be filled with plaster. The resulting plaster mold is used to cast the final object, shown here, in white stoneware. After glaze firing to cone 6, electronic parts are secured. The electronics are through-hole soldered based on circuit designs from Nicolas Collins. These sequencers and oscillators have been used in several live audio-visual performances, including a number of collaborations with artist Max Alexander.
Pinboard for Meditation is an interactive installation, and digital interpretation of Alexandre Alexeieff and Claire Parkers’ animated pinboards. This project incorporates a number of different new media technologies including the Processing programming language, its implementation of the opencv library, and sonic range detection with the arduino microcontroller. The project was completed in collaboration with professor Bradley Lewter at Florida Atlantic University, and exhibited as part of 10X10, a site specific installation exhibition in Lake Worth, FL in which artists are limited to 10ft x 10ft spaces.
The Pig is an audiovisual performance. The experimental performance uses hand drawn animations to place figurative imagery within the context of poetry and prose written by Roald Dahl. Incorporating two of his works, My Uncle Oswald and The Pig, the textual elements provide a unique experience by highlighting some of Dahl’s adult content and humor. Animations and text are cued using a custom program written in the Processing language. The live sound is performed using hand built sequencers, oscillators, and mixers.
Friendly Fire is an interactive installation and collaboration with artist Shane Mecklenburger. This work explores the nature of violence and its perpetuation, and places this critique within the familiar context of a video game.
Blue Ash of 49 is a sound and video performance by Mark Franz and Max Alexander. Formal graphic elements are manipulated in real time by custom, but rudimentary hardware. The hand made sound and video performance devices are constructed to provide chance occurrences for the artists to react to, which allow for improvisation, and the production of visual music.
The performance piece breaks from the non-objective nature of visual music by the artists’ consideration of a simple narrative. In Blue Ash of 49, this revolves around producing sounds that are visions and inspirations of a character that has rejected his culture and withdrawn from society by his own virtue.
The two artists prepare dissonant and musical elements separately in order to create a complex texture that not only compliments the visual elements formally, but also allows for improvised free association with the thematic content.