Sciajno music and video Podcast: Recent Episodes
None
Sonolume
by Domenico Sciajno
AudioVisual performance based on lighting tools - 2010
Sound and Light are waves that propagate in space, moving in any direction in the physical world, interacting with space and with the elements that occupy it, whether animated or inert.
Sound and light are when they exist, from their issue to their dissolution, regardless of our awareness: we perceive them only when intercept their transmission by activating the senses to interpret them. Those are the aspects that interest me.
Sound light and space are the primary elements in this audiovisual performance.
The video element is for me a point of view within the performance and, like a magnifying glass, it focuses on some details and then amplify and spread them in the space along with their 'concrete' generators. Therefore a videocamera is used (fixed on the table or moved by my hands during the live performance) to capture my activity on the lighting tools who are at the same time audio and video source generators and activators.
Just as sound and light interact with the space in which they propagate, I interact with the video capture and video deployment, crossing barrier that separates the physical world from the virtual, artificial and depicted one.
The help of video-projection is for me accessory, is neither a representation, nor a documentation of the performance final result.
Nor could it because of its limited two-dimensional representation in a frame. The 3D in the video world is just a simulation, which relies on optical illusion given by the prospective but that has nothing to do with the actual depth almost tactile of the physical world.
In this AV performance images, before being widespread undergo changes: the basic elements (brightness, color, saturation, hue, dislocation and relocation) are sensitive to the fundamental parameters of the sound generated and distributed at that time.
Sound waves (also controlled by light waves during the performance) cross the physical world and alter the data stream that gives life to digital video in the same way molecules are transformed by the sound contracting and expanding air particles in space.
Sonic and visual processings are achieved through a program I wrote with Max/ MSP/ Jitter that allows me to give life to a sensitive space, the entire performative area, in which all the elements that inhabit it (performer, sound, light, audience, video projection and architectural / structural elements) exert a reciprocal influence.
The audience is immersed in a flow of sound and light (only seemingly abstract but actually very realistic) multidimensional and multisensory that excites the perceptual activity. This gives a chance to the audience to expand its horizons beyond the symbolic and interpretative conventions of style, gender and of aesthetics.
The immersive effect is achieved avoiding the standard videoprojection on a square and flat screen. The space is previously and (site)specifically setup with sheets of fabric that located in different spots of the whole environment (not only stage but also the audience area) that ‘blocks’ the projection. This generates a multi-layered and poly-dimensional widespread drawing the viewer into an architecture of images, colors and light.
A multichannel or surround sound system can be used to enhance the immersive effect.
Espiral by Domenico Sciajno is a mixed network of analog and digital elements. 'Concrete' and analog sounds are transposed in an interactive digital domain for sophisticated and unpredictable spatialization and processing.
A double bass lying down at the center of a room receives vibrations coming from a speaker fed with unaudible sub-frequencies. The speaker has a ping-pong ball over its membrane. This will result in vibrations and resonances produced by the body of the double bass that will be captured and processed. The sonic result of such a captured and processed source will be then diffused in the room by four independent speakers in order to reproduce acoustically the random trajectories traced by the ping-pong ball solicited by the speaker vibrations.
The final result for the listeners will be a continuum of sound streams moving and crossing each other in the space reflecting the trajectories defined by the ping-pong ball.
All this process will be generated simply by a sequence of sub-frequencies physically transmitted by a speaker lying over a double bass. More info here
Unedited live recording with
Domenico Sciajno [ita] - Live Video Processing
Constantine Katsiris [can] - Laptop
Live AV output recording @ ASK 191, Palermo, 31/5/2008
Unedited live recording with
Domenico Sciajno [ita] - Live Video Processing
John Brennan [can] - Live Electronics
Live AV output recording @ ASK 191, Palermo, 31/5/2008
!!! Please Use Good Quality Speakers !!!
The original version is with spatialized 5.1 audio and the video represent a spatial map of hte sonic developement. best viewed in its original panoramic video and 5.1 uncompressed audio.
Audio&Video by sciajno 2008 ©
Nothing much to say... images and sounds can't be more esplicit... a running train can also be seen as a data flow... as well as everithing that runs through it...
The strings of an acoustic piano looks like a crossroad of trajectories escaping from the percussive 'temperamento' of the hammers. Navigating over such strings/trajectories means approaching the very intimate side of this ancient instrument that encloses not only centuries of musical tradition but also an acousti architecture able to generate new sonorities.
Warp is not 'just' a label. Warp is a' style', actually a 'brand'. The well famed Warp sustained the new electronic scene that appeared in the 2nd half of the 90 and today it glorifyes its success.
A scene that renewed the routine of the techno and DJ culture but that is strongly in debit with the field of historic and experimental electronic music. So why not feeling free to play around with the great images and videos accompanying the sounds of the well known Warp artists? Visual sources will therefore be the 'Warp Visions' accompanyed and processed by my own sounds.
The idea derives from the previous serie titled ThisTime_DisPlace and represents the research of an 'environmental contestualization' connected to the place were the performance takes place and in which the audio-visual source is real time captured during the performance itself.
The letters written by the ill-famed fugitive Bernardo Provenzano in a mafioso code addressed to his “picciotti” (fellas) in order to manage the clan businesses, digitalized by optical scansion become the control datas which will modify the audio-visual parameters during the performance.
The letters written by the ill-famed fugitive Bernardo Provenzano in a mafioso code addressed to his “picciotti” (fellas) in order to manage the clan businesses, digitalized by optical scansion become the control datas which will modify the audio-visual parameters during the performance.
Nothing much to say... images and sounds can't be more esplicit... a running train can also be seen as a data flow... as well as everithing that runs through it...
The strings of an acoustic piano looks like a crossroad of trajectories escaping from the percussive 'temperamento' of the hammers. Navigating over such strings/trajectories means approaching the very intimate side of this ancient instrument that encloses not only centuries of musical tradition but also an acousti architecture able to generate new sonorities.
Warp is not 'just' a label. Warp is a' style', actually a 'brand'. The well famed Warp sustained the new electronic scene that appeared in the 2nd half of the 90 and today it glorifyes its success.
A scene that renewed the routine of the techno and DJ culture but that is strongly in debit with the field of historic and experimental electronic music. So why not feeling free to play around with the great images and videos accompanying the sounds of the well known Warp artists? Visual sources will therefore be the 'Warp Visions' accompanyed and processed by my own sounds.
The idea derives from the previous serie titled ThisTime_DisPlace and represents the research of an 'environmental contestualization' connected to the place were the performance takes place and in which the audio-visual source is real time captured during the performance itself.