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Figure 6. Application of granular visual manipulations.

Figure 6 Application of granular visual manipulations.

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Figure 1. Photograph of Christian Marclay’s Video quartet installation.’ Digital Image © Tate, London 2014. project that remained independent were the abstract visuals accompanying each that served as the ‘DNA’ of the piece itself. At that time, the only elements of the At the beginning of 2009, I was still working on this project, when I first saw
Figure 1. Photograph of Christian Marclay’s Video quartet installation.’ Digital Image © Tate, London 2014. project that remained independent were the abstract visuals accompanying each that served as the ‘DNA’ of the piece itself. At that time, the only elements of the At the beginning of 2009, I was still working on this project, when I first saw
Figure 2. Photograph of Oskar Fischinger's Raumlichtkunst (1926) installation,21 reconstructed by the Center for Visual Music in 2012. Image © Center for Visual Music, 2012. and multiscreen work is long.2°
Figure 2. Photograph of Oskar Fischinger's Raumlichtkunst (1926) installation,21 reconstructed by the Center for Visual Music in 2012. Image © Center for Visual Music, 2012. and multiscreen work is long.2°
Figure 4. Still from Deadly media (1998) by Hexstatic. Retrieved from https://vimeo.com/3767413. synchronously appear and disappear by means of fast-cut editing. them are simultaneously in the frame, and rhythmic patterns occur when they Another approach that scratch artists explored for displaying several audiovisual independently, so that the piece builds a cacophony of voices when all or most of
Figure 4. Still from Deadly media (1998) by Hexstatic. Retrieved from https://vimeo.com/3767413. synchronously appear and disappear by means of fast-cut editing. them are simultaneously in the frame, and rhythmic patterns occur when they Another approach that scratch artists explored for displaying several audiovisual independently, so that the piece builds a cacophony of voices when all or most of
Figure 5. Stills from Fuh Fuh (1984) by The Duvet Brothers. Retrieved from https://www.youtube.com/watch?v=Anz6AIZb57c. scattering these visual fragments within the video frame.
Figure 5. Stills from Fuh Fuh (1984) by The Duvet Brothers. Retrieved from https://www.youtube.com/watch?v=Anz6AIZb57c. scattering these visual fragments within the video frame.
Figure 7. The MAVASP global algorithm.
Figure 7. The MAVASP global algorithm.
Figure 8. The MAVASP audiovisual granulator. algorithmic and sample-based MAVASP audiovisual granulator.
Figure 8. The MAVASP audiovisual granulator. algorithmic and sample-based MAVASP audiovisual granulator.
Figure 9. An ADSR pulsaret envelope. d is the total length of the grain, w the audible part and s the silence final segment. The visual processes start in step 7 with the extraction of the video frames from
Figure 9. An ADSR pulsaret envelope. d is the total length of the grain, w the audible part and s the silence final segment. The visual processes start in step 7 with the extraction of the video frames from
Figure 10. Generation and emission of a stream of audiovisual grains in a two audiovisual channels environment.
Figure 10. Generation and emission of a stream of audiovisual grains in a two audiovisual channels environment.
where k is the number of grain parameter and A the number of audiovisual The values of each variable of these vectors {V,,} can be derived as a:
where k is the number of grain parameter and A the number of audiovisual The values of each variable of these vectors {V,,} can be derived as a:
Figure 14. Frame sampling vs Frame blending in Premiere Pro CC. when the Frame blending technique is used (last row).
Figure 14. Frame sampling vs Frame blending in Premiere Pro CC. when the Frame blending technique is used (last row).
Figure 15. Frame blending of white stripes in Premiere Pro CC. downloading video frames consisting of (completely) white stripes on a black
Figure 15. Frame blending of white stripes in Premiere Pro CC. downloading video frames consisting of (completely) white stripes on a black
Stream with the frame rate adjusted to the frame rate output in which every grain of sound has visual representation
Stream with the frame rate adjusted to the frame rate output in which every grain of sound has visual representation
describing a stream of audiovisual grains can also store these boundaries as number is limited by the number of items in the database of audiovisual clips
describing a stream of audiovisual grains can also store these boundaries as number is limited by the number of items in the database of audiovisual clips
Figure 20. Times series plot of LCG(64, 41, 35, 0) and LCG(64, 57, 63, 0). distribution, for example), creating something similar to a dialogue between With regard to the hidden correlations, it is well-known that all LCGs have a lattice structure in any given dimension. For example, the graph of the sequence {u,,}n>9 generated by LCG(64, 21, 1, 0) is shown in Figure 21.
Figure 20. Times series plot of LCG(64, 41, 35, 0) and LCG(64, 57, 63, 0). distribution, for example), creating something similar to a dialogue between With regard to the hidden correlations, it is well-known that all LCGs have a lattice structure in any given dimension. For example, the graph of the sequence {u,,}n>9 generated by LCG(64, 21, 1, 0) is shown in Figure 21.
Figure 22. Pairs and triples of successive numbers from LCG(64, 21, 1, 0).
Figure 22. Pairs and triples of successive numbers from LCG(64, 21, 1, 0).
and LCG(32, 5, 16, 0), where only the c coefficient changes from 15 to 16.
and LCG(32, 5, 16, 0), where only the c coefficient changes from 15 to 16.
has transient 11, and period length 1. There are also several guidelines with regard to the level of randomness. For
has transient 11, and period length 1. There are also several guidelines with regard to the level of randomness. For
length 32 and might present some correlations. coefficients meet the Theorem A requirements, the sequence must have period 1, 2147483629, 2147483587, x,), implemented in some Windows operating
length 32 and might present some correlations. coefficients meet the Theorem A requirements, the sequence must have period 1, 2147483629, 2147483587, x,), implemented in some Windows operating
Figure 27. Timeplot of two cLCG sequences (bottom) generated by combining LCG(16, 1, 1, 0) and LCG(16, 1, 15, 15) (top). the cLCG generate by the alternate sequence {1, 2, 1, 2, 1...} and arandom
Figure 27. Timeplot of two cLCG sequences (bottom) generated by combining LCG(16, 1, 1, 0) and LCG(16, 1, 15, 15) (top). the cLCG generate by the alternate sequence {1, 2, 1, 2, 1...} and arandom
Figure 28. Timeplot of a cLCG sequence with transient 16 and period length 2. Therefore, cLCGs created by alternating between several sequences meet all the generate a sequence of transient 16 and period length 2 with the sequences
Figure 28. Timeplot of a cLCG sequence with transient 16 and period length 2. Therefore, cLCGs created by alternating between several sequences meet all the generate a sequence of transient 16 and period length 2 with the sequences
Figure 32. Interface of the MAVASP audiovisual granulator.
Figure 32. Interface of the MAVASP audiovisual granulator.
Figure 33. Granular parameter values generated algorithmically.
Figure 33. Granular parameter values generated algorithmically.
The CSV stores each grain in a file and each grain is stored in 31 columns of data
The CSV stores each grain in a file and each grain is stored in 31 columns of data
Figure 35. Interface of the MAVASP granular visual manipulator. also combined in a random fashion or linked to granular parameters. includes 14 different blending methods, which can be used discretely, but can appropriate manner at standard video frame rates. The interpolator process
Figure 35. Interface of the MAVASP granular visual manipulator. also combined in a random fashion or linked to granular parameters. includes 14 different blending methods, which can be used discretely, but can appropriate manner at standard video frame rates. The interpolator process
least common multiple of 8 and 5 is 40.
least common multiple of 8 and 5 is 40.
Figure 38. Blend, crop, convolution, glitch and combination of filters. not so extreme.
Figure 38. Blend, crop, convolution, glitch and combination of filters. not so extreme.
audiovisual sample, and the other ‘generated’, via parametric mapping. 8.4.6 Audiovisual installations and single-screen works overall added value is the sum of two correspondences: one ‘inherited’ from the
audiovisual sample, and the other ‘generated’, via parametric mapping. 8.4.6 Audiovisual installations and single-screen works overall added value is the sum of two correspondences: one ‘inherited’ from the
Figure 40. Geometric variations at Stony Brook University, NYC, April 2014. the material generated by both parts to create the piece.
Figure 40. Geometric variations at Stony Brook University, NYC, April 2014. the material generated by both parts to create the piece.
Figure 41. Generation of an audiovisual stream using five PRNGs. line linked to the grain length parameter (yellow), which created the effect of
Figure 41. Generation of an audiovisual stream using five PRNGs. line linked to the grain length parameter (yellow), which created the effect of
Figure 42. Real-time visual manipulations using Modul8. applying visual processes to the whole audiovisual stream.
Figure 42. Real-time visual manipulations using Modul8. applying visual processes to the whole audiovisual stream.
Figure 44. Application of visual manipulations in correspondence with granular parameters in Speech 1. blending filters and convolution filters. Some examples are shown in Figure 44.
Figure 44. Application of visual manipulations in correspondence with granular parameters in Speech 1. blending filters and convolution filters. Some examples are shown in Figure 44.
Speech 2 is a stereo, 1-video channel, audiovisual composition. manipulations, were going in the right direction. However, further study wa
Speech 2 is a stereo, 1-video channel, audiovisual composition. manipulations, were going in the right direction. However, further study wa
fashion. Some examples are shown in Figure 46.
fashion. Some examples are shown in Figure 46.
Figure 47. Photograph of Speech 3. audiovisual composition/installation.
Figure 47. Photograph of Speech 3. audiovisual composition/installation.
Figure 48. A crop visual effect applied to the video frames in Speech 3. ‘crop’ effect for exploiting the idea of spatial fragmentation were configured. Technically, regarding the generation of the five movies, in Premiere Pro CC, I were re-generated. The glitch effects were improved, and new effects such as the
Figure 48. A crop visual effect applied to the video frames in Speech 3. ‘crop’ effect for exploiting the idea of spatial fragmentation were configured. Technically, regarding the generation of the five movies, in Premiere Pro CC, I were re-generated. The glitch effects were improved, and new effects such as the
Figure 49. Exporting Speech 3 channels. time, the appropriate region to export (see Figure 49). 17. When the piece was finished, I exported the movies five times, selecting, eack
Figure 49. Exporting Speech 3 channels. time, the appropriate region to export (see Figure 49). 17. When the piece was finished, I exported the movies five times, selecting, eack
Figure 50. Photograph of The sounds of the world (2016).
Figure 50. Photograph of The sounds of the world (2016).
Figure 51. Photograph of The sounds of the world (2018).
Figure 51. Photograph of The sounds of the world (2018).
Figure 52. The sounds of the world, installation evolution. setups: a multi-monitor system, a multi-projector system or in a video sculpture.
Figure 52. The sounds of the world, installation evolution. setups: a multi-monitor system, a multi-projector system or in a video sculpture.
Figure 54. Audiovisual re-granulation in Vacuum. Another unique feature of this piece was that for the first time I combined
Figure 54. Audiovisual re-granulation in Vacuum. Another unique feature of this piece was that for the first time I combined
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Installation ArtVisual MusicAlgorithmic CompositionNew Media ArtMusic and Mathematics
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