Wednesday, May 10, 2006
In whcih pixelated porn is turned into lyrical piano music.....
The concept of a correlation between sound and vision goes back to antiquity. One starry night on the island of Samos Pythagoras stood contemplating the skies, to him he very rhythm and motion of heavenly bodies in their orbits appeared to him as if governed by a cosmic harmony, a carefully choreographed sequence, the music of the spheres.
Renaissance artists such as Leonardo da Vinci produced sophisticated spectacles for court festivals that fused music and colour. In 1760 Father Castel constructed an Ocular Harpsichord or as he described it a " harpsichord for the eyes". Castel's machine was a normal harpsichord above which were 60 small windows, each with different coloured-glass and a small curtain. Each time the player depressed a particular key, the relevant curtain would rise to show a burst of colour.
In the next two hundred years many new instruments for combining light and sound were built. The British painter A. Wallace Rimington developed a Colour Organ which provided a moving light accompaniment to the 1916 New York premiere of Scriabin's symphony Prometheus: A Poem of Fire. Scriabin had scored not only the music but also the precise colours he wanted to accompany particular passages.
Such colour music forms the conceptual starting point for Fleshtones, a piece for extreme pixelated porn and auto generated accompaniment. Footage from webcams and other online sites is broken down into a simple tableau of colour bands, at times rather like the paint charts one might find in a DIY store. Given the subject matter this palette is either predominately pink or coffee coloured thus producing a sequence of flickering fleshtones. Using the wonders of max/msp/jitter these Fleshtones are turned into lyrical piano music that rises in falls in response and exact correspondence to the onscreen movement. The motion of earthly bodies thus is transformed into something of beauty, harmony and contemplation.
Many thanks to psouper