Output details

PATAH - audiovisual composition. Composed in 2009-2010. Duration: 15:26. Sound and visuals by Diego Garro.

First Performance: Sonic Arts Oxford, Oxford Brookes (UK), 27/02/2010. Online video recording: http://vimeo.com/14112798.

Subsequent Performances: Cinesonika, First International Film and Video Festival of Sound Design, Simon Fraser University, Vancouver, Canada, 12/11/2010. Patah(still-frame) was exhibited at the "Contemporanea" festival, as part of the "60x60" exhibition of pictorial and graphic arts, Udine, Italy, 12-24/10/2010. GIGUK 2010, VideoART Festival, Gieben, Germany, 30/10/2010. Sonic Arts Concert Series, School of Music, University of East Anglia, Norwich, UK, 22/11/2010. NoiseFloor Festival, Staffordshire University, Stafford, UK.13/01/2011 . DatFest, Hanley Museum, Stoke-on-Trent, UK, 25/2/11. Visible Bits, Audible Bytes — An Audio-Visual Symposium and Screening/Performance, DeMontfort University, The Phoenix Square Digital Cinema, Leicester, UK, 27/10/2010. SoundImageSound8, Department of Music Studies, Conservatory of Music, University of the Pacific, Stockton, California, USA, 3/02/2011

Patah(still-frame) was exhibited at the ‘Minumental Exhibition’, Cincinnati, USA 18/02/2011. International Computer Music Conference 2011, Huddersfield, UK. 31 /7-5/8/2011. Soundings, International Festival of Sonic Art, School of Music, University of Edinburgh, Reid Concert Hall, Bristo Square, Edinburgh, UK, 6/11/2011. Fast-Forward, New Adventures In Sound Arts, Theatre Direct's Christie Studio, Toronto. Canada, 25/11/2011. inner sOUndscapes II, Norton Concert Series, University of Oklahoma - School of Music, USA, 16/04/2012. Exhibition of PATAH at the FILE Hypersonica Screening, Sao Paulo, Brazil., 167-18/8/2012. 'New York Electroacoustic Music Festival', City University New York, New York, USA. 4/4/2013. Monaco Electroacoustique, Rencontres Internationales de Musique Electroacoustique, Theatre des Varietes, Monaco. 2-4/5/2013.

Patah (fractures, Indonesian) builds on my research into spectromorphological compositional styles that combine electroacoustic sounds and moving image. In Pointes Précaires [1] I explored the extension of Schaeffer’s objet sonore into the objet audiovisuelle [2] i.e. a multi-media entity typified by its sonic and visual phenomenological attributes. In Patah I continued such experimentation, composing both sounds and images in order to investigate further implications of similar coalescing strategies [3], expanding its scope to include the integration of audio and video textural streams. Experimentation focused on the compositional implications derived from two contrasting approaches: a) merging the sonic and visual textures into cohesive spectro and spatio-morphologies [4] and b) treating them as separate layers of an audio-visual arrangement. The second strategy yields parallels with stream orchestration in acousmatic music or harmony and counterpoint in orchestral composition. Both strategies rely on spectromorphological motion. The approach adopted in Patah consisted of the construction of an extended family of abstract filamentous visual textures controlled using typical concerns of electroacoustic treatments (clustering, granularity, density, spatial distribution, tonal balance) extended to the visual domain. The design of the sonic textures was carried out utilising a variety of spectral transformations, focusing on the potential of the sounds to permeate the ‘fractures’ (patah) of the visual textures: one hears through the visual gaps and sees through the translucent sonic streams.

[1] Garro D. 2005. Pointes Précaires https://vimeo.com/10863843

[2] Garro, D. 2005. A Glow on Pythagora’s Curtain. A Composer’s Perspective On Electroacoustic Music with Video. Proceedings of the EMS network conference, Montréal, 2005.

[3] Garro D. 2012. From Sonic Art to Visual Music: divergences, convergences, intersections. Organised Sound, 17(2): 103-113.

[4] Smalley, D. 1986. Spectro-morphology and Structuring Processes. In S. Emmerson (ed.) The Language of Electroacoustic Music. New York: Harwood , 61-93.