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as early as «NOISEGATE» as harsh flashes, since our new software offered that possibility, and they increasingly took over the pictorial field. Even these now emancipate themselves from torturing the alter ego electronically and become a constant compositional plane, as complex image encapsulations. Now the sub-bass touches the audience, along with shimmering light amplitudes. They are standing in vibrating sound and light and looking at emptied color fields.
This is a very good description of the situation in «RESET,» Granular Synthesis' minimalist work produced for the Venice Biennale in 2001. In terms of sound, traces standing for a quality of warmth move past in the background and find their correspondence in the color red. But generally the image world is cool, perhaps even aseptic, the image field is empty, until the granular principle is reaffirmed visibly. The experience is ambivalent and immersive. I think «RESET» is very much where we want to be.
The examples of our work introduced here are sufficient to describe a path I would sum up like this: the theme of the first works was exploring the material, i.e. sound and image, and our fascination
with various ways of manipulating faces. At first the sound was aggressive and avant-garde, deriving absolutely from a basically attacking position. The theme of the later works is defining space and the image as a light-image, ultimately as beams and modulations within the space; the sound is haptic material, charged and with tension.
Q: How are the samples created, how are the performers recorded?
A: There is no camera movement, the whole thing is a strict installation. The performer acts out emotions ad lib, on the basis of definite requirements, thus creating vowels and consonants. The camera is fixed, the light is white, the background is white, the face or the body are optimally placed in the space. So the image is sterile and stylized, the abstract samples have first been generated and animated with various kinds of image software, and then sound was added in a second step.
Q: Why are the works so big?
A: They aren't always, but it is true that we used to