Electroluminesence an audiovisual composition composed by Sharon Phelan in 2009 is a very hypnotic and beautiful audio visual piece with a very stylised colour scheme and motion palette. Sharon composed the music to the visuals, a kind of deep seeing and hearing. I saw this again yesterday evening in the ATRL lab, Trinity College, Dublin and it was quite stunning aurally and visually in such a great setting, with high quality projection and audio.
"Audiovisual composition consisting of video feedback. The music and visuals were informed by each other in an exploration of emergent forms. Slight changes to certain parameters lead to complex results."
This piece is quite incredible in the patterns and sense of depth and dimension. It is really beautiful. Semiconductors film 200 Nanowebbers was really brilliant too, but this new work form 2011, is equally as good. Great work semiconductor
20 Hz - A Semiconductor work by Ruth Jarman and Joe Gerhardt.
'05.00 minutes / HD / 2011 HD single channel and HD 3D single channel. A Semiconductor work by Ruth Jarman and Joe Gerhardt. Audio Data courtesy of CARISMA, operated by the University of Alberta, funded by the Canadian Space Agency.'"20 Hz observes a geo-magnetic storm occurring in the Earth's upper atmosphere. Working with data collected from the CARISMA radio array and interpreted as audio, we hear tweeting and rumbles caused by incoming solar wind, captured at the frequency of 20 Hertz. Generated directly by the sound, tangible and sculptural forms emerge suggestive of scientific visualisations. As different frequencies interact both visually and aurally, complex patterns emerge to create interference phenomena that probe the limits of our perception," Webpage about 20Hz: - http://www.semiconductorfilms.com/root/20Hz/20Hz.htm
This important concert that took place in 2002 in the Dorothy Winstone Theatre, Auckland, New Zealand. The four senses concert were a collaboration between Raewyn Turner (NZ) and Tony Brooks (UK).
"The ‘Four Senses’ 1999, 2002 concerts were to engage and reframe perception of music and to play with subjective experiences and simulated synesthesia. Each sensory element was constructed from information relating to the other elements. The associations and correspondences of the elements made by the audience was according to their own individual and personal experiences. The investigations include perception, misinterpretation, fictional translations and the sensory worlds of the blind/deaf: of hearing, of breathing in, and of visualizing music.
Tony Brooks utilised sensors, software and projectors to create an interactive system capturing movement from the orchestra and translating it into painting with coloured light. In this way the orchestra conductor was able to “paint” the scene through his gestures within an interactive space. Similarly orchestra members, dancers and a special signing choir for the deaf images were blended into the backdrop in real-time such that their velocity of movement affected the color of image generation and collage composition. Raewyn Turner interpreted the sound to colour and smell using the correspondences that she made between sound/silence and light/dark. The translations involved intuitive drawing, charts, measurements, referral to the seasonal time of harvest of aromatic plants, and an equation which produces a selection of plants from which to choose smell pitch.
The performances were an improvisation and a real - time translation of sound and the gestures of making that sound, into light and colour, and multiple layers of smell. The light collage thus created was a play of interaction between live video feeds and sensors, and coloured light pre-programmed to an interpretation of sound, each affecting the other in a dynamic visual loop. "
