Sunday, December 25, 2016

Circle Lines


Appealing as the idea of synaesthesia is, the relationship between an on screen visual form and a sound is ultimately arbitrary. A shape could for example expand or change from blue to green synchronised to a sound rising in pitch, but just as easily it could contract and change from red to yellow, and the sound still rise. Such relationships are arbitrary rather than essential, but once a reciprocal framework is established we as viewers will tend to actively adhere sound and image together and see/hear one as in some way causing the other. To create a dialectic one can allow, even encourage this adhesion to take hold but then must offset or upset it in some way to reveal the arbitrary. Circle Lines seeks to do this by having two sound and image production sources that operate in different ways; circles, and lines. The circles create one form of oscillation relative to their size and position, the lines function in a different way producing a stepped sequence according to their position on screen. To add confusion the two overlap visually and acoustically. This 'Test One' is just that a slightly indulgent racket that will form part of a longer piece in 2017.

Saturday, December 10, 2016

Hairlines


Using a form of optical sound married with generated representational imagery

Sunday, October 02, 2016

Tracking - Railway Abstractions

Inspired by the sound, visual effects, shifting light patterns, temporal movements, multi dimensional perspectives, etc that one sees and hears on railways and in railway films - oh and here and there a slight pun on analogue video tape tracking.

Saturday, September 24, 2016

Live Chronocut Machine

https://www.facebook.com/philip.sanderson.9/videos/10154487458322243/
The first Chronocuts were made using a web browser, a very unpredictable approach, which at times could in itself be interesting. This technique was updated to using a matt to make slices, and then cutting and pasting clips at intervals. A couple of weeks was spent in 2010 trying to automate the process in After Effects and make something more immediate, but with limited success. Long render times and CPU overload, meant the technique wasn't quicker or more flexible. Over the summer holidays just gone I was revisiting some old patches and had another go in Max and very quickly it came together. A live camera input was tried and here is a minute or so. Though it initially just encourages 'larking about', there are clearly numerous possibilities. Live

Monday, August 29, 2016

Moth Flight

 
Short, 75 sec piece selected for the Amy Johnson Festival 2016 programme curated by Kerry Baldry in Hull a couple of months ago.