1channel version performed April - November 2015 at: Wall Riss gallery (Fribourg, CH) (video documentation here); Goldsmiths University (London/UK); Bees In A Tin showcase @ Supersonic Festival (Birmingham/UK); LUMEN, Punta Arenas & Puerto Natales (Patagonia/Chile); Mozg (Warsaw, Poland), XI Festiwal Muszyki Teatralnej (Jelenia Gora/Poland); SONICA festival (Ljubljana/Slovenia; Cork Film Festival (Ireland)
NEW 2channel version (AGENESIS) previewed 15-16 March 2017 at: Sue Townsend Theatre (Leicester, UK), MK Gallery (Milton Keynes, UK)
Target audience: all ages with the proviso that the audio has extensive use of strong sound pressure from very low frequencies (30hz and below) and visuals comprise rapidly flashing lights.
Tags: synaesthesia, physical sound, colour shadows, perceptual & architectural system response, bass
Video: Not for laptop speakers, best with headphones or speakers & preferably subwoofer for low bass
NB - recorded using only 12channels mixer in studio - 16channels required for full sound. Studio bass monitoring also insufficient for exact callibration of low bass beating frequencies
Three turntables, custom-made oscillators, 1930s acetates, custom-cut dubplates and a whole lot of bass – polyrhythmic phasing in light and sound brings your whole body and the surrounding space into a face-melting physical constellation. Projections powered directly by the heavily phasing audio use Edwin Land’s (inventor of Polaroid sunglasses and Polaroid photography) work with colour shadows to create a head-wrecking synaesthetic experience with the spontaneous production of colours and patterns which may or may not be there. Warning: flickering lights, loud sounds, strong low frequency pressure.
The live sound is fed to custom-designed software which directly converts this audio to a constantly changing one pixel video signal based on the phasing difference between the left and right audio channels. Watching this simple flickering (but not strobing) image that consists often of only black and white, but sometimes two colours, the eye starts to see a range of additional colours, bringing about a synaesthetic experience combining the physicality of the audio with the immersive quality of the video.
For more information on Edwin Land's discovery and colour shadows see http://www.greatreality.com/Color2Color.htm
Video software coded by Bas Van Koolwijk who is co-developer of the amazing Synchronator
Note: Due to the fast frame rate of the video software (59-60 frames per second) and the spontaneous production of colours + the architectural aspect of the sound – accurate documentation is extremely difficult especially given the substantially lower frame rate of cameras (29-30fps) and limitations of microphones in recording. Essentially not reproducible via secondary media, works with the perceptual limits of human sensory appartus.