resonate to This

research notebook // theory & practice // the journey to visual sound effects

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Soundscape doodle

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More dubbed album covers

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Dubbing photographs, using typography in a similar way that vocals are used in dub music

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Dubbing reggae album covers – using dub music techniques in visual compositions

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Rabari woman in glitch

Working towards --> Rabari woman in dub

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Words by Pipecock Jackson, Jack Lightning, Jesse The Hammer, Lee 'Scratch' Perry, Daniel Dandelion the Lion, Jah Rastafari the crumbler, the ghost of King Arthur

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Layers of previous frame by frame animation on top of each other.

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Testing... frame by frame animation

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Giving shape to time

“Music, as the true model of temporal structure, is most worthy of study among prior arts. Music is the supreme example of movement become pattern. Music is time given sublime shape. If for no other reason than its universality and its status in the collective mind, music invites imitation. A visual art should give the same superior shape to the temporal order that we expect of music. As with the twenty-six elements of the alphabet, music’s hierarchal pattern of tones provide the model for a visual art with which to “make infinite use of finite means” to construct “architecture.”

The Raft of the Medusa by Theodore Géricault

What is the nature and function of motion in all art? What are the relations of motion and emotion?

“A painting, regardless of implicit dynamics, still exists passively fixed in time. But a new art might pattern action in time with all elements in motion at all times. The graphic problem, then, will be how to manipulate a field of visual elements so that all parts will contribute purposely to some temporal (time-structured) design.” (Whitney, 1980:37)

Whitney, John. Digital Harmony: On the Complementarity of Music and Visual Art. 1980, Pg. 44-45

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Sync (by Max Hattler)

Sync "is based on the idea that there is an underlying unchanging synchronisation at the centre of everything; a sync that was decided at the very beginning of time. Everything follows from it, everything is ruled by it: all time, all physics, all life. And all animation." (Max Hattler, 2011, 'Sync: Circular Adventures in Animation' in Virginie Selavy (ed.) The End: An Electric Sheep Anthology - strangeattractor.co.uk/books/the-end/)

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Animation (unfortunately computer slows down and gets choppy when screen recording..):

Password: resonatetothis

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Processing

// Rose Display - Jim Bumgardner // // The Rose Equation was the basis of John Whitney's RD/TD motion graphics system, described in his book Digital Harmony.

Processing code here: http://www.openprocessing.org/sketch/1555

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Processing – Code as the language of electric space

Integrating the code with the visual result?

Databending, glitching, randomness – Modern music, improvisation, chance (Cage, Dada)

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Processing

// Transcription of program arabesque // originally prepared by Paul Rother for John Whitney for the book "Digital Harmony" // ported to the Processing language by Jim Bumgardner

Processing code here: http://www.openprocessing.org/sketch/1270

The fundamental idea in this animation is one of the elements in Whitney's 1975 film "Arabesque."