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CONSTRUCTION IN KNEADING
live audiovisualisation
Construction in Kneading is a live audiovisualisation of a Mandelbox fractal, one of several recent multi-dimensional fractals inspired by the famous Mandelbrot set. The recursion formula upon which the escape-time fractal is based is similar to that of the so-called Baker Map and resembles the actions of kneading dough in bread making. Through this relatively simple process carried out in three dimensions and controlled through the real-time manipulation of the variables, complex patterns arise from which all the audio and the visuals are generated. It is implemented in the programming environment Max/MSP/Jitter.
The work consists of three parts. A cube of data calculated from the fractal is audiovisualised using an increasing number of dimensions in each part. In Part 1, a line or one dimension of data is used. In Part 2, a slice or two dimensions of data are used. In Part 3, a cube or three dimensions of data are visible as points.
The same process is used to produce both the sounds and the moving images and so what you see is what you hear or vice versa, without the one triggering the other. It is like an instrument or a machine that is unpredictable and chaotic. In performance, the audiovisuals are generated in real-time through improvised interactions with the system. |
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Composition: White Square, White Circle
Composition: White Square, White Circle is an audiovisualisation, where the same data and process generate both the sound and the moving image without either one following the other as seen in most VJ practice and visualisations. Movements and patterns that are seen can also be heard and vice versa, with visual shape, screen location and speed corresponding to audio timbre, panning and pitch.
Simple abstract designs are used, based on folding into a square and stretching into a circle, much like kneading dough. These shapes are moved to and fro, and gently transformed into complex structures and then back again. Despite being generated by cold, geometric forms, the wave-like motion gives the work an organic quality, suggesting the cyclical character of nature.
The title is a homage to the Russian Suprematist artist Kazimir Malevich. It is almost a hundred years since Black Square (1915), Black Circle (1915), Suprematist Composition (1916) – the most expensive painting in the history of Russian art – and White on White (1918). His style is interpreted through the use of modern-day techniques of data visualisation and sonification. The work was originally made for Sedition, a cloud-based digital art platform. It is available from the following URL:
www.seditionart.com/ryo_ikeshiro/ |
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Ryo Ikeshiro is a UK-based Japanese artist. His works range from live audiovisual performances and interactive installations to generative music pieces and scored compositions. He has presented his works internationally at media art and music festivals, as well as at academic conferences. His works have been released on the digital platform s[edition] and he is featured in the Electronic Music volume of the Cambridge Introductions to Music series. He was originally trained as a classical musician, but then branched out into electronic music and other genres.
His practice-based research at Goldsmiths involves “live audiovisualisation”, where the same data and process produce both the audio and the visuals in real-time, without either one following the other – as seen in most VJ performances and visualisations. Emergent systems are used as basis for creating custom-made programs to generate sound and moving image. These could be compared to instruments or machines which are chaotic and unpredictable. In performance, he attempts to understand and control both of these components in a duet or duel.
He curates exhibitions, screenings, and a series of events called A-B-A featuring performances, talks, and discussions. His articles have been published in journals such as Organised Sound. |
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| ryoikeshiro.com |
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