s o n i f i c a t i on

the process of translating
the placement of organic shapes in visual space
into
the placement of musical notes in harmonic space

details : aesthetics, technique, presentation

(process demo) sonification  |  graphic scores  |  installation  |  perpetual intermix (sound demo)
light pools  | fluid musics

 

 

 

 

a e s t h e t i c s :
  The source photographic images are organic. The resulting musical images are their aural equivalents. This means the music is also organic - no notes begin or end at the same time. [A player piano roll has geometric patterns because the notes all start and stop at the same time, creating chords.] The tone clusters of organic music are seemingly non-linear. This is the essence of 'Fluid Musics'.
  Time is controlled by the viewer with visual art. In music the time is determined by the music itself. These pieces shift the musical world back into the same experiential world as painting by making music that never seems to start or end. The audience determines the start, end and duration of the composition.
  When the source photographs and the music are presented together one experiences the same 'image' through two senses. This is called 'compound perception'. Synaesthesia can result, producing a hyper-aesthetic and euphoric experience.
  Compound perception of numerous images in various media, models the philosophy of a 'holographic universe' (where everything is included within everything else). When one realizes this, they are experiencing 'lateral imaging'. This is one step shy of satori.
 
t e c h n i q u e :
  Time is read across the page and pitch is read top to bottom. This is the same vocabulary as used with any written document : up is high, down is low; left is the beginning and right is the end (unless you are from the Middle East or Asia).

 

 

The Berkian compositional sense arises from the decisions made on the actual scales and instruments used to perform the pieces.
The overall tempo is slow because each photographic frame is assigned a one minute duration.
 
p r e s e n t a t i o n :
  These pieces are typically presented in a gallery setting, although they have been installed in outdoor locations. They begin before the audience arrives and loop so they play continuously. This removes the perception of a starting or ending point.
  Several pieces can be played simultaneously, rendering a 'perpetual intermix' of sound. The interaction between the pieces is continually creating a new mix of notes that is rarely if ever repeated.

 

 

 

 

The relative intensity of the individual pieces can be 'mixed' by the listener by shifting their location in the presentation space. The closer one gets to a particular set of speakers the louder that piece gets while the others recede. This is called 'proximity mixing' and is the interactive feature of the installations.