A variety of audio wave visualisers are available. Most are progressive and linear, maning it sits on a line and as the music progresses so does the audiowave i.e loudeness = bigger audiowave

 

This kind of aesthetic is dated and overused. I would like to make a visualiser in the spirit of this one but something more complex and aesthetically dynamic.

involving touch in the audio-visual experine. Using your fingers to control tones and make music on an electronic interface. This method allowes people to ome make music at home with their finger tips. The is a streamlined verson of music produciton, but it has to be considered, is this negletic the skill it takes to lean an instrument? Is it disregardeing the analogue process? Is it just too easy?

 

This video used images that are being films in rhythm with the audio. A characteristic and basic element of sound along side such other qualiteies such as meldoy, ptich and harmony..

I like the monochromatic colours used, shifting from one hue to another, and even the inclusion of people.  its as if the people are interacting with sound or visa virsa. A combination of sorts a union of the etherial and phsical.

 

Sound is one of thoe things you just can see. Humans dont like that, especially when sound doesnthave a source. We become unsettled and confused with strange noises.

 

Weve always saught a way to see sound in one way or another. But here music is brought into the physical word. Liquid is used to capture sound as it happens from big frequecies strong enough to manipulate substances.

 

I would like to find ways to breing sound into the phsical world or even take it deeper into the digital where it hasnt been very often.

This video is very close to how I image some of my visuals looking. This video has stronger imagery than what I would like in my project because I wasnt to communicate the sound and its aspects, but overall, its a great source for inspiration.

Janet Cardiff is a Canadian installation artist who studied at Queen's University and at the University of Alberta. She works in collaboration with her partner George Bures Miller.

 

Her work is really abstract. The work of a true sound artist. I have never really taken to such kind of art but this year I am facinated by it, and find myself attracted to concepts rather thanjust the praxos or outcome.

 

I like the idea of sound progression crushedos and ambience. I think Cardiff captures that well.

 

I first tried visualising a recording of me singing and playing guitar. The sound of my vocals in one microphone and the guitar in an other. The sounds were linked up to cloloured circles and the the sound that ws more promanant was the circle that was more visable. These circles increase and decrease in scale depending on the volume of each input.

 

Visualising speak in specific celebratoyr situations on canvas give the audiowaves a sellable.marketable dimention.  Tihs shows audiowaves dont just have to serve a strict purpose, its can be multi-applicable and plugged into many different areas.

 

There is nothing quite like going big in an exhibition space.

 

This is an  art sculpture in the business entrance of the Rolex Tower in Dubai. For this sculpture James recorded himself saying “Rolex Tower” into a computer program. Once the soundwave was recorded it was transferred to a 3D modeling program. The waveform was then rotated to create a physical sculpture whose dimensions were recreated using stainless steel. The final measurements of the sculpture represent the sound of someone saying “Rolex Tower” after .05 seconds. This large sculpture hovers 2.5m above visitors as they walk around the lobby.

 

There is a certain quality about using voice to generate music rather than instruments. Voice has. that uniqueness about it as every person will sound different, whereas MIDI and instruments are manufactured and duplicated to sound the same.

There is a sort of Identity in the voice, less perfection and it has a rustic quality. Thats why I chose to build hte Audiowave art around vocals.

There are more anomalies, unexpected spikes and dips in the sound, imperfection and aberrations. When these are plugged into a visualiser its possible to see these hidden qualities.

 

At the same time I was looking for a way to visualise music in still image form as well and it lead me to graphically generating waveforms, spectograms and notation on the Music  I had made for Visual Acapella.

 

I thought that I could maybe add these images to the video and overlay the audiowave art to make them moreof a representation of music. By overlayingthe audiowaves on top of these imags it could make a more dynamic set of outcomes.

 

 

 

At this point i was being challenged on how different my visualiser was to others.

 

I began considering a different angles, and the possibilty that I should change my theme to the corruption of images.

 

In development I was looking at trying to get the right aesthtic for the visualiser.

 

I wanted something that looked different but still maintained a familiararity with the audince so they knew it was a music visualiser.

VISUAL ACAPELLA - BOOK 1

 

By focusing on methods of visualising audio output data I selected a series of still images from a video with a dynamic sound wave. At 5 second intervals, the images shows the changing shape and complexity of the audiowave in a physical archive.

 

I wanted to print the still images in a format that allowed people to flick back and forth and see the evident change in the audiowave. This showed the ranging complexity and intracasy of the music at diffrent stages of the audio but captupred in a still image, so the effects can be seen at a personal pace. It was more of an aid to the video, a supporting material.

AUDIOWAVE ART
VISUAL ACAPELLA - BOOK 2

SEEING IN SOUND

 

As part of the Gray's School of Art Interim Show 2014 each student had to produce an exhibition displaying some of their Honours Project work. The selection of work I chose was part of my investigation into portraying audio outputs. This took the form of aesthetic sound waves in vynl on the back wall and a digital slideshow explaing sound and my appraoch to the project. This was also accompanied by a audio responsove video at the end of the presentation.

 

My origianl Idea has me hanging frames stills of the Audiowavs printed on textured paper. The more complexx the audiowave was the more textured the paper was.

 

This was an attempt to appeal to the senses ad touched on Synaesthesia as a subject beore but this time there was a mixing of Sight - Hearing - Touch.
 

AN EXPLINATION

HOW, WHAT, WHY?

 

A difficult part of my project was communicating the concept. Working with sound and image is this way is technical and there is a lot of jargin to be processed by the audience. Making thisinformation clear and consise was a challenge and I attempted using some sildes prior to the video work so people could get a sense of what they were veiwing and understand my project better.

OPENING NIGHT

 

Interim Opening Night February 7th 2014. See my exhibition work below.