MusicBrushMachine (Машина для рисования музыки)
A.Panov THE COLOUR of MUSIC
(The multimedia project)
The concept of visualisation of a sound consists in transformation of a rhythmic basis of a musical track to a visual image. Transformation is carried out by means of mathematical processing of peak-frequency components of an audiostream.
The car for music drawing (MusicBrushMachine) is the multimedia complex including a number of computers for creation of a visual number, and video of projectors for a conclusion of the image to the screen or to scene perimetre. Also, for complex work, the sound amplifier and acoustic columns are necessary MX-panels on a sound and light. Devices of registration of scenic space of type of luminescent lamps, counter projectors, a stroboscope and the smoke-car are in addition used.
The first practical attempts of light registration of a scene have been undertaken with the advent of style "disco", beginning, approximately, since 70th years, and were called as "son of lumiere". Such illumination was used, mainly, in discos, but also had a wide circulation and on TV. All registration was limited to a chaotic blinking of multi-coloured bulbs, like a fur-tree garland, and any art value did not represent.
Essentially this approach has not changed and till now. Variety executors actively use "colour-music", having thus already considerably more powerful computers and large-sized television panels, but, keeping thus a principle of "chaotic blinking" which and remained former: to "Light", that was beautiful and rich", without burdening itself any plans.
Today technical possibilities cardinally differ that were accessible all a century ago, but the basic attempts to develop the concept of decorating of a scene, have been undertaken during those historical times. In works of different researchers problems "light-writing" were considered and there were these works, certainly, mainly theoretical.
The first postulates have been offered still by Newton. It has assimilated seven sounds different in height - sound-row - to seven colours of a rainbow, and has tried to deduce the mathematical law, what "colour" this or that note-sound. The sound "C" at it was red, and "D" violet. It is possible to consider such approach rectilinear enough, but it is necessary to notice that followers of such representations are and now.
Further there was Skryabin who clearly saw that the tonality "F major" bears dark red colour, and "F sharp major" - solemn dark blue. And, he asserted that just between tonalities, instead of separate notes, and colour sensations there is an organic communication. Skryabin has directly connected for the first time tonalities to colour in a symphonic poem "Prometej", and has entered party "light clavier" into the musical score.
From our contemporaries it is possible to note the French media artist Jean-Michel Jar who has tried to realise principles "light-writing" in practice. And though its ends of the world had nevertheless character light-musical show, without comprising any dramatic art, it managed to reach in the work of considerable successes, and to deserve it enthusiastic reaction of public.
Transition from "decorative" illuminations to the light score is qualitatively important stage connected with two essentially various approaches to a role of a visual number. "Chaotic blinking", not having any independent plan can be used with little effort in almost any product, but thus it becomes never unique the recognised. The same as also the melody which does not have "individuality", does not remain in consciousness at the listener.
The problem maintenance can be deduced from a medical phenomenon synaisthesis. Synaisthesis, generally, is disease, from a series of "colour hearing" to that Mozart, in particular, has been subject. However, in the absence of clinical complications, synaisthesis is not a pathology, and the natural mechanism of aesthetic perception.
So representations of "a sea surf" and "a burning fire" include not only recognised visual and acoustical images, but also unique olfactory and tactile reactions. Various sense organs, various to sensations, but only one object of perception, both in an external world, and in consciousness. Human perception always synaisthesis as physiologically so the brain of the person is arranged. Synaisthesis should not as though to occur at perception of abstract objects, but to change the perception nature it is impossible.
It is possible to remove any from a perception complex of synaisthesis components, and thus the information stream can be still substantial, but completeness of perception thus will essentially suffer. From structure of a symphonic orchestra it is possible to withdraw separate tools, and even groups, - music will still sound, but executed product already will strongly differ from conceived by the author.
It is impossible to tell that music visualisation, in general, is exclusively sufficient addition, but absolutely precisely it is possible to assert that it is necessary for high-grade perception of a work of art. Unique visual support, whether it be some certain colour forms or executed dance is necessary for unique music.
Certainly, a parity of colour and an emotional spirit not always obviously. However, it is necessary to notice that it is unevident in the same measure, on distinction of a major and a minor in music how many is unevident. Thus, all well-known existing gradation of colour-mood from "dark blue-black", as cold and sad, to "red-yellow", as something warm and cheerful.
The general tendency is directed on transition from symphony creation to creation and execution of polyphonies. The composer not only writes down in notes as its product will sound, but also how it should "look". Record of movement and a dancing choreography for what already the licensed system of symbolical record of movement under name Sutton Dance Writingо today is created can become the further development of process.
The purpose - creation of complete art orchestral product where music, dance and light will be organically connected in the decision of an art uniform most important task. Creation of an orchestra of plastic movement is connected with necessity to allocate some special form of such scenic dance. Representation about a body, as some orchestral tool, aspiration to synthesis of visual and sound expression, desire to find the new aesthetic form at level of subconscious perception is here again traced.
Time from Kant metaphysics and Freud's psychoanalysis, Dunkan choreography and Skryabin's experiences, representations about chromatic and Bach "The Well-Tempered Clavier", spectral structure of a rainbow and "a golden section" riddle, to pass directly to scenic action which can spend the spectator on the way materialization and dematerialization of ideas, and transfer it to the world of ideas of an author's plan.
Here, on a joint "algebras and harmonies", arise two more polemic questions, is mathematics process and visualisation, and priority "bit sensitivity" (rhythm) of a visual number.
At conversation on the mathematician, and its possibilities in realisation of an art plan, it is necessary to consider that base elements of a musical camp, so-called chromatic numbers, also it is absolute mathematic, have "an artificial" origin, and have no natural analogues. Nevertheless, only 7 notes or 12 tones in regular intervals distributed on frequency, allow to create musical masterpieces in all their infinite variety.
Accordingly rhythmic conditionality of visualisation corresponds with a rhythmic basis of some the musical. Base rhythmic drawing can be transformed through mathematical algorithms in beyond all bounds difficult aesthetic images. The trigonometry not simplifies an end-product, but opens new open spaces for art creativity. Besides, rules syncope and polyphonies here too can work quite successfully.
Light, as the high-grade component of an aesthetic product which are not dominating in operation, but not separable from an event. The same as dance cannot be music "support", and music should not be accompaniment for dance. Light not somehow there to "light", and not as separate independent action, and as a part of the single whole, named an art product.
And, in polyphonies, the approaches traditionally used in a classical opera and ballet, are absolutely not comprehensible. Situations when the orchestra accompanies ballet, up to rate and rhythm delay or when the conductor, like the ballroom pianist, creates a background for demonstration of vocal possibilities of the opera singer, here are not admissible absolutely not.
Today on a choice of media artists enough considerable quantity of the expensive professional equipment and the paid software is represented. But, as well as the mobile communication has made revolution in the field of communications, only becoming popular, and in sphere of multimedia revolution occurs now because now it is enough capacities of usual household computers and possibilities of freely extended software for this sort of decision of problems.
It is possible to take the computer equipped with TV-exit, level Pentium 2, by no means and far not the most high-speed, free noncommercial player of type WinAMP, and to start at once independent creativity. The algorithms, the studio of visualisation AVS built in a player (Advanced Visualisation Studio), are extremely simple and obvious in the base principles, and give the chance to the user to begin work directly from the moment of the first acquaintance.
The main difference of studio AVS from existing analogues consists in an openness of a program code. The user can not only take advantage accessible AVS presets in archives of the Internet which only on site WinAMP some tens thousand are placed, but also without restrictions to change any of them, to introduce corrective amendments on the taste, then to expose back the variant for the general discussion and an estimation. Community AVS is opened, and AVS-artists can be met practically in any country of the world.
The software gives the big set of additional service functions. As an entering audio-stream it is possible to use not only preliminary written down musical track, but also "a live sound" from microphones, achieving thereby the full coordination of the image with an event at present on a scene. The microprocessor system "audioballerina" when the gauges fixed on the dancer, will transfer in the computer not only sounds, but also movement characteristics can become the further development of this technology. Further, all it can be transformed to colour and the form of a visual image.
Possibilities of interactive management of visualisation have at all it essentially value. The light score can be edited as during rehearsals, and even to modify in the course of representation. AVS operator is not the supernumerary displaying in advance prepared video, and participates directly in an event on a scene. The computer can work literally in a mode of a visual piano when certain pressing the keyboard will include the set chromatic images.
The visualisation studio can serve as a bright example of how the mathematics turns to art. It is possible to begin with a usual point which moves on the screen to a step to music, then to change character of its movement, to set colour and the form, after to pass to lines and figures, to find new combinations of forms and trajectories. In ready object of any sketchiness can already not be at all. Here the basic philosophical and didactic principles are concluded: quantity transition in quality and transition from simple to the difficult.
Being engaged in visual creativity it is possible not only to master mathematics elements, but also to understand base principles of programming. It is possible to see visually how the mathematical formula turns to a vision, to see occurrence of mathematical figures on points, lines and surfaces, and both in a statics, and on dynamics of occurrence of the form of a subject. To become the media artist it appears completely not difficult, and the result can bring a lot of satisfaction.
Presence of possibility of involving trained, in the same studio of dance is very important, is direct in creativity process, and development at them creative thinking. Dancers have an opportunity not only to create the individual drawing of movement, but also independently to "paint" in its own unique image. At professional theatre of a speciality of the choreographer and the designer usually are not combined, but in the course of training "combination of specialities" is quite justified.
The concept "Magic drawing"
Moreover, at the initial stage, there is no necessity for any special technical equipment. To start creativity process, it is enough to have only water colour paints and a sheet of paper. The pupil chooses music, make the dance, and then draws a brush the visual image of scenic representation, - draws itself in dance and a scenic frame of dancing number, using thus the paints necessary to it at the choice. Already after, the found colour palette, can be realised accessible computing means.
Uniqueness of a technique consists that it is suitable not only for children who are engaged in graphic creativity or dancing art. "Magic drawing" pupils musical, theatrical can create, photo-video and computer studios. Then the exchange of experience and discussion of the lucky finds, undoubtedly, will be extremely useful, and will allow everyone to see absolutely new variants of realisation of an individual plan.
As a result there is the form of creative self-expression accessible to all and each, without dependence from studio specialisation and skills in drawing. Dancers draw the suit and colour of number. Artists draw movement and the form. Musicians draw a sound. Everyone can make drawing in the original style, but all of them will be united by one concept that is, can be exposed in a uniform exposition for the general review.
A.Panov THE MACHINE FOR DRAWING OF A MUSIC
(MusicBrushMachine) /Multimedia project/
The machine for drawing of a music enters in a complete set of a hardware of a Orchestra of the plastic movement and is a hardware complex, intended for facilitation, acceleration and automation of creative process of visualization of a musical number, together with for automation of process of scenic registration.
The structure of a machine enters a personal computer equipped by a device for figures remaking of a sound signal, also a possessing specialized programm environment and equipped by a to appropriate electronic adaptation for management scenic and light equipment; a acoustic stereo-system with a digital audio-input; a complete set of the light and projection equipment with electronic management; a set of scenic volumetric gauges, capable to register and to inform to a computer about all moves on a scene.
The device for figures remaking executes processing of a sound signal with all types of analog carriers, transformation of a signal to the digital form, record of a signal in memory of a computer, on a laser disk or on other type of a digital carrier.
The programm environment for the type MusicBrush permits to create general colour filling of a working screen of a computer, to simulate on a picture beams of searchlights and any other lighting equipment, to impose in addition driven geometrical forms and figures. The drawing is possible as previously under the amplitude-frequent schedule and on beforehand given algorithms, as in real scale of a time, by entering editorial correcting in a time of looking of a received audio-visual number. In case of availability of the several scripts light and colour score, the program permits to optimize search and formation of the best variant.
The received intermediate or final variant is directly directed for management of the external scenic equipment. The acoustic system and light equipment are connected directly to a computer. The gauges of moving permit to supplement the score received beforehand by visual, but can also be a means for improvise creation of light and colour filling, in strict conformity with dynamics of movement of the actor on a scene, on any possible beforehand or interactively to set algorithm of processing of a signal.