GMU:Bild zu Ton, Ton zu Bild/Projekte: Difference between revisions

Im Kurs [[GMU:Bild_zu_Ton,_Ton_zu_Bild|Bild zu Ton, Ton zu Bild]] entstehende Projekte der Studierenden:

==[[Georg Frömelt]]: [[Die Sieben Todsünden]]==

==[[Christian Hellmann]]: Schwarze Welle==

In einer schwarzen Box eine schwarze Welle. die Welle wird erzeugt durch die Rotation zweier Motoren, die mit einer schwarzen Schnur, einem Strick oder ähnlichem verbunden sind. Ein Beamer projiziert eine weiße Linie auf die Welle. Scannt sie quasi. Durch das Scannen der Welle schwimmt sie wie hier:

<flash>file=swimfast.swf|width=110|height=110|bgcolor=#000000|scale=exactfit|quality=best</flash>

Durch stroboskopartiges Aufblitzen erkennt man jeweils nur eine Hälfte der Welle.

<flash>file=upper_1.swf|width=110|height=110|bgcolor=#000000|scale=exactfit|quality=best</flash>

<flash>file=upper_2.swf|width=110|height=110|bgcolor=#000000|scale=exactfit|quality=best</flash><br/><br/>

Eine Herausforderung wird es sein Intervall und Projektion zu synchronisieren. Das Interessante jedoch das Brechen der Synchronisation und das Spiel verschiedener Tempi.<br/><br/>

[[GMU:Sabinas_Work|Sabinas Work]]<br>

Musik video - Stell dir vor, als Fremder, durch die Starssen Weimars <br>

==[[Johann Niegl]]: Animierte Bildfragmente==

==[[Cédric Richard]] : '''MusicPainter'''==

My project is about music generating pictures by computer, and more espacially with Pure Data. The aim is to create a kind of numeric painting illustrating different sources of sounds and music, with simple forms, colors and movements. So I want to create a player on Pure data, using multitracks.

For this project, I thought a lot about 3 artists : '''Kandinsky''', '''Fishinger''' and '''McLaren'''.

'''Kandinsky''', because one of his focus was to translate music by painting, or at least to paint like a composer. His forms, lines, colors act like interruptions, pieces of rhythms, notes, and give a feeling of music in one picture. I could say that my goal  would be to recreate a kind of living Kandinsky's painting, but there is a big difference between his work and my project, even bigger than the question of movement itself : the '''composition'''. The pictures of Kandinsky are over-composed, really calculated, whereas with computer generating imagery, I can only get a '''random result''', I mean in the way I use it. Here I just can configurate some possible kinds of forms, movements or colors, but the way they appear (''size, appearence, location, RGB result or opacity'') depends of music and computer more than me. So I can't chose exactly the result, and plan a composition.

[[File:compositionVIII.jpg]] ''W. Kandinsky, Composition VIII''

However we can notice the code of Kandinsky, which could be the beginning of a automatic process.

I'm also interrested in the work of TVestroy (who creates live sound and music with animations) and Billy Roisz and Dieb13 (who create pictures by sound, and work on feedbacks between them). Those performers work on cable bending. Even if it's not exactly what I do, there is this idea of generation by audio or video signal, using computers.

In my work, I use mainly 3 kinds of informations : the ''pitch'', the ''amplitude'', and the ''attack''.

At first, I used to work a lot on the pitch, with a serie of patches working with filters isolating each note on 3 octaves, linked to color changes. But the result was not enough precise. I tried to use this way to animate sounds from  a bass guitare, due to the harmonics, it was hard to follow the music movements and changes. So I started to work more on the attack information. The conclusion was that with animation, it's easier to follow shapes changements or movements than colors changes.

For more information on my work on Pure data, look here : [http://web.uni-weimar.de/medien/wiki/GMU:Audio%2BVideo_projekte#C.C3.A9dric_Richard].

<videoflash type="vimeo">10915919|400|265</videoflash> <videoflash type="vimeo">10914603|400|265</videoflash>