Output details

Sinus Aestum, computer realised sound and image

Sinus Aestum builds on the foundation of Mercurius and Lacus Temporis (see REF Item 1). A core research aim was to break from direct isomorphism of sound and image to introduce more independence between the mediums. Rapid fracturing of time in the middle of the piece imparts a momentum to the sound and image that allows their relationship to begin to “break apart”. As a result, there is more of a sense of energies being passed between mediums rather than a unified audiovisual gestalt.

I also sought to expand the Compressed Feedback Synthesis technique by adding resonant filters to the CFS design. This enabled the establishment of “centres of pitch gravity” in the feedback patterns of CFS. Working with - or against - the pull of these centres provided an important dramatic impetus for the work.

I also took inspiration from my previous research on modeling Indian classical music expression curves, integrating Bézier-spline curve code and control mechanisms into the audio control system for more naturalistic transitions between states. The resulting custom Max/MSP tools (now publically available) provide artistically intuitive means for shaping the rate and tangent of paths in and out of continuous control changes for sound synthesis.

I presented the resulting sound synthesis system and compositional technique in a paper at ICMC 2011, Huddersfield (included in this portfolio) and in lectures at Seeing Sound: Visual Music Symposium, Bath Spa University (2009); Stanford University CCRMA (2009); University of the Pacific, Stockton, USA (2009); and University of the Arts, Berlin (2011). The Rotterdam International Film Festival 2009 premiered Sinus Aestum. It received a Finalist: Best of the Fest award from the Red Stick International Animation Festival 2010, Baton Rouge, USA.