work
Principle of organization
| category | Sound art |
| subject | Nature, Beauty |
| tags | tree graph, algorithm, emergent properties, complexity theory, growing plants, complex systems |
| minutes | 20 |
| seconds | 0 |
| year | 2019 |
Electronic Art, Media, Single Piece.
Electronic music instrument, interactive sculpture and automatism based on a simple algorithm.
Material: Lasered glass, plastic, metal, wood, plexiglass, sensors, audiosystem, computer
Dimension: 80 x 80 x 25 cm
There was a time when that "once upon a time" still lies asleep, the primordial sprout of creation, whose birth instinct generates a tradition of change. It was that first input of moving a presence that allowed the genesis of time, a sound conveyed in the form of a basic equation.
To seek the first sign that gave voice to everything that exists, expresses space, is the work "Principle of organization", which provides a system for attributing a sound timbre to that basic equation, imperceptible a simple and human listening.
It is a wave deployed in a graph, capable of indicating how many times, in a unit of time, the function repeats itself.
The circular organization of the installation evokes the meditative listening condition, mutual influence of cause with the micro and the macro, extrapolating the imperceptible timbre. And in this way to convey the pentametric germ of sound in an organic inspiration of the whole, in the fusion between visual and visible, in the synthetic combination of perception, combined with the auditory source of the sign. The circumferential device is the resultant, it manifests itself at the top of its definition through a language that is generated by the reiteration of an algorithm, expressing the sound in the computation of numbers.
And in the visible vortex of the sign, the geometric sap of sound is translated, calibrating its pounds in the synaptic migration of space. The convulsions of a bit go on in the mantric circle of the root, it is said of how a possible graph, in the limit of its bark, enclosing the fertile circuit of possibility.
The function of the artist is manifested in a dual functionality: the creation of new sound generation languages and sensitizing to listening, with the emission of meditative sounds, towards one's own and others' micro way of existing in harmony with being the all.
The work investigates the possibility of using complex graphic models, generated by simple and recursive algorithms, exploiting their emerging products, according to the relative theory of complexity and self-organization in natural systems. Through the computation of these large quantities of data, numerical matrices belonging to the generated fundamental cell (tree structure, based on the algorithm relating to the growth of plants) Wolfram Language ”of the Mathematica software, for the purpose of a timbre research and a compositional development they are organized and agglomerated in sound environments characterizing the voice of the work; Selected these digital soundscapes are added modulated by the interaction with the user.
The interaction is made possible thanks to proximity sensors on the closest surface of the work; these sensors which are connected to an ad-hoc audio-software system (application assembled within the max-msp programming environment loaded on a computer board), manipulates the sound in real-time through the gesture of those who interact. The concept is to exploit the formula of the fairy tale, to create a communicative apparatus in which the gesture meets the primordial sound of its intimate principle.
Electronic music instrument, interactive sculpture and automatism based on a simple algorithm.
Material: Lasered glass, plastic, metal, wood, plexiglass, sensors, audiosystem, computer
Dimension: 80 x 80 x 25 cm
There was a time when that "once upon a time" still lies asleep, the primordial sprout of creation, whose birth instinct generates a tradition of change. It was that first input of moving a presence that allowed the genesis of time, a sound conveyed in the form of a basic equation.
To seek the first sign that gave voice to everything that exists, expresses space, is the work "Principle of organization", which provides a system for attributing a sound timbre to that basic equation, imperceptible a simple and human listening.
It is a wave deployed in a graph, capable of indicating how many times, in a unit of time, the function repeats itself.
The circular organization of the installation evokes the meditative listening condition, mutual influence of cause with the micro and the macro, extrapolating the imperceptible timbre. And in this way to convey the pentametric germ of sound in an organic inspiration of the whole, in the fusion between visual and visible, in the synthetic combination of perception, combined with the auditory source of the sign. The circumferential device is the resultant, it manifests itself at the top of its definition through a language that is generated by the reiteration of an algorithm, expressing the sound in the computation of numbers.
And in the visible vortex of the sign, the geometric sap of sound is translated, calibrating its pounds in the synaptic migration of space. The convulsions of a bit go on in the mantric circle of the root, it is said of how a possible graph, in the limit of its bark, enclosing the fertile circuit of possibility.
The function of the artist is manifested in a dual functionality: the creation of new sound generation languages and sensitizing to listening, with the emission of meditative sounds, towards one's own and others' micro way of existing in harmony with being the all.
The work investigates the possibility of using complex graphic models, generated by simple and recursive algorithms, exploiting their emerging products, according to the relative theory of complexity and self-organization in natural systems. Through the computation of these large quantities of data, numerical matrices belonging to the generated fundamental cell (tree structure, based on the algorithm relating to the growth of plants) Wolfram Language ”of the Mathematica software, for the purpose of a timbre research and a compositional development they are organized and agglomerated in sound environments characterizing the voice of the work; Selected these digital soundscapes are added modulated by the interaction with the user.
The interaction is made possible thanks to proximity sensors on the closest surface of the work; these sensors which are connected to an ad-hoc audio-software system (application assembled within the max-msp programming environment loaded on a computer board), manipulates the sound in real-time through the gesture of those who interact. The concept is to exploit the formula of the fairy tale, to create a communicative apparatus in which the gesture meets the primordial sound of its intimate principle.
