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PAPER
‘Seeing Sound – Future Loving Machines’

In the first half of the 20th century, where many scientists and artists were searching for [artistic] freedom and where they’re exploring the possible relations between light and sound, there they invented the optical sound synthesis and made animated sound and instruments out of it.
Eighty years after the first demonstration of experiments on animated sound, I tripped and fell right in the middle of one of those magnificant instruments. [I can’t remember whether it was the ANS or the Variophone]. Since that moment I’m charmed and working on a machine which excites the same experience as I had back there.

DOWNLOAD LINK >> Seeing Sound Future Loving Machines-Mariska de Groot 2012

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ESSAY MEDIA ART HISTORY
[DUTCH]
Beeld kan dezelfde eigenschappen hebben als geluid. In deze overtuiging zijn veel kunstenaars in het verleden aan de gang gegaan met ‘visual music’. Visual music refereert aan de (veronderstelde) muzikale structuren in visuele beeldtaal.
In dit essay leg ik de nadruk op de beginperiode van visual music [1900-1940] en zal ik proberen aan te geven welke ontwikkelingen in het bijzonder relevant zijn voor mijn eigen artistieke aspiraties.

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DOWNLOAD LINK >> INTERBELLUM & VISUAL MUSIC- Mariska de Groot 2011
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[tags: visual music, interbellum, color music, Louis Bertrand Castel, Clavecin Oculaire, Alexander Wallace Rimington, Colour-Organ, Scriabin, Prometheus, Poem of Fire’, Thomas Wilfred, Clavilux, Goethe, graphical sound, Ernst Chladni, Margaret Watts-Hughes, Thomas Edison, Optisch geluid, WO2, Absolute Film, Rudolph Pfenniger, Oskar Fischinger, Synthetic Sound, Sounding Ornaments, John Cage, Norman McLaren, A.N.S. Synthesizer, Welte Light-Tone, Optigan, Rithmicon]

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PAPER
‘Seeing Sound – Future Loving Machines’

In the first half of the 20th century, where many scientists and artists were searching for [artistic] freedom and where they’re exploring the possible relations between light and sound, there they invented
the optical sound synthesis and made animated sound and instruments out of it.
Eighty years after the first demonstration of experiments on animated sound, I tripped and fell right in the
middle of one of those ma gnificant instruments. [I can’t remember whether it was the ANS or the Variophone].
Since that moment I’m charmed and working on a machine which excites the same experience as I had back there.

Seeing Sound Future Loving Machines-Mariska de Groot 2012