Cycle – Marla Singer & Witch – 18/3/17

Explicitly minimal/cyclic visual stimulus for Cycle

In order to convey a cyclic sense of movement, I attached various forms of layered feedback onto a rotating sphere inside another rotating sphere, each spinning at exactly 33.1/3 RPM

 

GIFs

Here’s a few GIFs I’ve made from a collection of screenshots from recent works.

My first fairly simple GIF, made from two frames of densely layered glitchy feedback.

My next attempt contained more frames & at a faster rate but I felt lost a part of its amorphous quality in being so skittish.

My third attempt combined what I liked the most of the previous two, having a vaguely identifiable foreground central shape with a more complex background of layered digital feedback.

Ideasthesia – Art Installation – May 2015

What do we hear when we listen to sound? What could we see? What would it mean to us? How do we construct this meaning? Through experience? What could we experience? Do we experience the event itself? Or the experience alone?

The installation sought to create a synaesthetic environment through the juxtaposition of colour & sound. Through assigning groups of colour with specific sonic events, a combined aural/visual experience occurs within the audience.

Here’s an interview where I explain it a bit better.

Here’s the tester video I made prior to the installation in order to convey the idea of what it might be like. I was pretty close.

 

Synaesthesia – Art Installation – May 2014

What is it like to hear a colour? What is colour? What is sound? What are dreams? What is reality? Is music just sound? Is art just colour? Are dreams a part of our reality? Could you see a sound? Would a colour sound different depending on which colour it was? What colour would sound be? Does it have to be a colour? Is what’s red to me, also red to you? If I see it, do I have to hear it? Would it be a sound? Or would it make a sound? What kind of sound would colour make? Or what colour would sound be?

The installation sought to explore the idea of Synaesthesia, using projection feedback and live electronic instruments, a bizarre, immersive, dream-like environment was constructed for the audience to interact with & experience.

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The installation itself consisted of a device known as a photo-theremin, which affected the pitch of the tone generated based upon what frequency of light entered the circuits. This was pitted against an evolving backdrop of analogue video feedback. Thus, interacting with only one element of the installation was impossible, as to interact with the visual component inherently involved affecting the colour, which in turn changed the sonic aspect of the environment.

Whilst this may not be the most applicable or truest interpretation of the Synaesthetic experience, I believe it effectively illustrates an important aspect of subjective / experiential ideas & how illusory our sensory world can be.