When Shadows hold their Breath for clarinet & piano

This is created by me based on my experiment

International Journal of Computer Vision - IJCV, 1999

Shadows and interreflections are present in all real scenes and provide a rich set of photometric cues for vision. In this paper, we show how shadows and interreflections are intrinsically related. Shadows tend to occur in those parts of a scene in which interreflections have the largest gain. We provide several basic results concerning this relationship in terms of the interreflection modes of a scene. We show that for a given scene, the interreflection mode having the largest gain is a physically realizable radiance function. We derive bounds on the gain of this mode and discuss how this mode is related to shadows. We analyze how well an n-bounce model of interreflections approximates an infinite-bounce model and how shadows affect this approximation. Finally, we introduce a novel method for inferring surface color in a uni-chromatic scene. The method is based on the relative contrast of the scene in different color channels.

2018

Shadows and Light is a twelve-minute work for solo violin and orchestra. The structure of this piece is governed through a novel approach to harmony and gesture passing through just-intoned sonic fields. The formal design of the piece has been organized into an arch structure whereby each section moves increasingly toward varying states of harmonicity and inharmonicity. The undulating spectra unfold within a continuum of rotating harmonies evoking a quasi-just-intoned atmosphere. This harmonic arena provides support for the fantasy-like treatment of the solo violin part. Further, through the approach to gesture, a series of vivid imagined pseudo-spaces have been rendered available for the imagination of the listeners. The impact of the musical gesture, and how it can imply a certain form of energy and drama emanating from a collection of sound fields, is of paramount concern for the thrust and forward motion of the musical material. A personal gestural palette combined with familiar modes of articulation have been used in order to broaden the listeners' perception of the sounds they are hearing. While Shadows and Light has clearly been influenced by spectral techniques, such as ring modulation and summation tones, this piece in no way belongs in the spectral repertoire. The generation of spectral-like harmonies is simply a way to provide an ethereal context in contrast to the decidedly tonal nature of the solo violin material. Because the accompaniment is mainly constructed through timbral design, and the solo part constructed through harmonic and melodic impetuses in the traditional sense, the result is of converging thresholds: timbre and harmony coalescing into unified sound matter whereby chords resonate as monoliths of partials, fusing the experience of what is sounded, and what is heard. The musical result provides divergent angles through which a listener may experience distinct sonic images in a variety of morphed states.

Spatial Cognition & Computation, 2017

his paper examines the question of auditory detection of the movements of silent objects in noisy environments. The approach to studying and exploring this phenomenon is primarily based on the framework of the ecology of perception defined by James Gibson (Gibson, 1979) in the sense that it focuses on the direct auditory perception of events, or “structured energy that specifies properties of the environment” (Michaels & Carello, 1981 P. 157). The goal of this study is triple: -Theoretical; for various reasons, this kind of acoustic situations has not been extensively studied by traditional acoustics and psychoacoustics, therefore, this project demonstrates and supports the pertinence of the Ecology of Perception for the description and explanation of such complex phenomena. -Practical; like echolocation, perception of acoustic shadows can be improved by practice, this project intends to contribute to the acknowledgment of this way of listening and to help individuals placed in noisy environments without the support of vision acquiring a detailed detection of the movements occurring in these environments. -Artistic; this project explores a new artistic expression based on the creation and exploration of complex multisensory environments. Acoustic Shadows, a multimedia interactive composition is being developed on the premises of the ecological approach to perception. The last dimension of this project is meant to be a contribution to the sonic representation of space in films and in computer generated virtual environments by producing simulations of acoustic shadows.