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Themesicon: navigation pathSound and Imageicon: navigation pathEmotion Machine
Sinken (Granular Synthesis), 1999Reset (Granular Synthesis), 2001

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fact our new software worked wonderfully well. We could only begin to imagine this new tool's potential in the context of «NOISEGATE'S» requirements. This software was the platform for a new aesthetic. And «NOISEGATE» had clearly transformed itself into a non-interactive space dominated by dark negative images with individual harsh positive image-flashes. A kind of underground field.


The work «SINKEN» (Lille, 1999) is composed for a string orchestra and audio-visual image stream. The string parts were written by first of all defining the frequency ranges of the individual string instruments and then realizing them via individually driven AKAI samplers with the appropriate library. What can be heard are very slow glissandi over a range of one or two notes, which were later played live by a real orchestra. All the string players have to play individually, there are no groups in which musicians can get their bearings in relation to each other. This lonely playing within an amorphous sound consistency, creeping down, snail-like and slow, is a beautiful image.


The video image is cloned four times. The image and its electronic sound section move even more slowly at first. At the very beginning, both are entirely still and mute, which causes a certain element of frustration to flicker up in the audience at the outset, until they acclimatize themselves to the work's slow breath. We reward them, as you see, with a beautiful shimmering sequence at the end, while the string players paddle in the lower registers.


Transition to a quasi-abstract and abstract, empty image opens up a new theme: in «SINKEN,» a real starting sample was still available, even though it could scarcely be decoded, but in later works like «FELD» (2000) or «RESET» (2001) a synaesthetic affirmation had to be set up first of all. Hence in the samples for these works, which were generated in several synthetic steps, a visual and a sound movement were brought together. These are to be thought of as a single object: every aspect of the image and the image movement has a corresponding facet in the sound, and vice versa. Stroboscopic time-light events cropped up

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