We may assume that a time will come when that which I am about to describe will name itself—but for now: 'Computational periodics' is a propositional and tentative term which may help to designate a new unified field for a heterodimensional art; a field whose special dimension is time. An art which is temporal, as music itself; being, that is, spatio-temporal. An art whose time has come because of computer technology and an art which could not exist before the computer. Even though this art will be found in the notebooks of Leonardo and has been in the collective imagination, like the flying-machine, since his epoch it was a technological impossibility until the development of computer graphics.
Rhythm, meter, frequency, tonality and intensity are the periodic parameters of music. There is a similar group of parameters that set forth a picture domain as valid and fertile as the counterpoised domain of sound. This visual domain is defined by parameters which are also periodic. 'Computational periodics' then is a new term which is needed to identify and distinguish this multidimensional art for eye and ear that resides exclusively within computer technology. For notwithstanding man's historic efforts to bridge the two worlds of music and art through dance and theatre, the computer is his first instrument that can integrate and manipulate image and sound in a way that is as valid for visual, as it is for aural, perception.
-- EXCERPT FROM "COMPUTATIONAL PERIODICS" BY JOHN WHITNEY
POWEr is a performance based on high-voltage electromagnetic perturbations, by Alexandre Burton and Julien Roy. Using an audio-modulated Tesla coil as a live instrument, electrical arcs are generated and transformed in an ongoing, realtime audiovisual process. Electricity is used as a subtle yet intense material, manifested as an instrinsically synesthesic phenomenae.
Ujino Muneteru transforms mechanical sounds into complex rhythms. Bored by the technical limits of his instruments, the guitarist and bassist experiments with new sounds. Different sounding bodies widen the spectrum of resonance; simple mechanical motors produce new tones. In particular domestic appliances, tools, and large machinery from the fifties to the seventies play a significant role here because of their mechanical simplicity and haptic palpability. Points of reference to the Japanese "Noise Music", a type of sound movement from the eighties rooted in John Cage and the Fluxus, can also be seen...
Plywood City refers to a part of Tokyo, in the vernacular, built from wood. Inspired by it, Muneteru constructs a model city, which is animated by kinetic objects and sound. The basis of the city is formed by art-transport crates, whose misappropriation cites socialist flagstone buildings with irony.
"The Built From Scratch Apparatus" is the general title for a series
of projects by Pierre Gordeeff initiated in 2006. Composed of parts
salvaged from the trash, yard sales and equipment purchased from
bankrupt hospitals, schools and factories, Gordeeff's work has slowly
evolved into an ornate sculpture and light show along with amplified
moving parts fed into a mixer. This particular configuration of The
Built-From-Scratch Apparatus, La Trombe, is performed alongside a duo with electronic
musician Boris Jacobek on laptop and Bontempi keyboard.
La Trombe was built
specifically for a performance at Lyon, France's DIY venue Grrrndzero
and this video was shot during one evening of La Trombe's installation period at the space in June of 2008. Although it seems that throughout most of this
improvisation the sculpture is obscured in shadow, spectators could
observe the well-lit sculpture before and after the performance.
Initially, Gordeeff's pieces were a less complex juxtaposition of
drawings, sculpture and found objects, often depicting images of dystopian angst. By 2004, he began to make use
of light and motion as his work became more performative. He eventually added sound by amplifying various moving portions of the sculpture and in his recent musical performances, the process of obscuring and illuminating portions of the sculpture "becomes more detailed than
if I were [merely] drawing or sculpting it." When asked about the sculpture's
transformation into an improvisatory musical instrument, Gordeeff
observes, "I used sound and motion as a tool to overcome my habits of
plastic composition. I followed the technical bias of all the items I
could find [rather than my own aesthetic decisions] to end up with
hybrid objects and shadows of elaborate graphic design. Sometimes
sound inhabits space ...