Changes Like the Shoreline (2018)
This composition began as a simple drum rhythm that was gradually shaped into an ambient soundscape with electronic textures accompanied by recordings of breaking waves. The ebb and flow of the music suggested the varied range of auditory and visual scenery that would be encountered during a walk along a shoreline. These changes were depicted visually with fades and transitions between abstracted, vividly coloured scenery
12th September 2018. International Video Arts Festival. Multiple screenings in Mexico, Barzil, Chile, Italy, UK, France, USA, Sweden and Uruguay http://www.videoartes.org/
Neon Vibration (2017)
An animated étude with rhythmically transforming geometric vector style imagery. It attempts to create rich visual textures and lighting effects from a minimal input coupled with the use of video feedback. The graphics were created by a visual instrument, which reacts to audio in real-time. Additional compositional structure and complexity was determined by the composer. The algorithmically generated music was inspired by the ‘dance chimes’ device (http://www.richter-spielgeraete.de/catalog-detail/items/9.06000-tanzglockenspiel-dance-chimes.html). This is an instrument that triggers bell like timbres when one of nine pitched chimes are stepped on by a user. Two Reaktor block modular ensembles produce sonic textures which are harmonised on a pentatonic scale used by the chimes.
23rd March 2018. Seeing Sound. Practice-Led Research Symposium, Bath Spa University (UK)
1st December 2017. Synchresis, Program 28. Granada Spain. XXIV Festival Internacional de Arte Sonoro y Música Electroacústica Punto de encuentro
4th November 2017. Visual Music Full Dome Festival. Morelos Mexico. Full Dome, 5.1 Surround Sound Version.
Synthetic Electro Replicant (2016)
Synthetic Electro Replicant is a CGI animation which plays with synchronisation between image and sound. Most of the motion occurs over durations which are integer multiples of 0.2 seconds (0.2, 0.4, 0.8… etc). A shape can move from one point to another in 0.8 seconds for example. Some timings are occasionally offset (0.8 x 1.5 = 1.2 sec) to create syncopation between image and music, which is sequenced at a fixed rate of 150 bpm. The intention is to discover how a rigid musical timing structure interacts with tightly synchronised imagery. All the visual forms are created with a video synthesis instrument which generates vector based geometric shapes or points. These can be replicated circularly in space to form complex forms and dynamically changing geometries. Colour is used to enhance the visceral quality of the video and interacts with the abstract forms to create richly coloured imagery. Visual inspiration for this piece is taken from John Whitney’s Matrix films and Wassily Kandinsky’s discussion on the use of point and line in visual composition.
Comments on the Soundtrack
Inspired by trance and other dance music genres a fixed 4/4 timing structure and tempo is the foundation of the soundtrack. It is primarily a beat based composition but the rhythm is preceded with a more textural introduction. Initially the textural sonic elements accompany the video in a loose and complementary fashion. The 150 bpm tempo grid is gradually revealed as the instruments become tightly locked to the beat as the music progresses and the shapes respond in kind.
18th October 2017. International Computer Music Conference (ICMC) Shanghai China
23rd September 2017. flEXiff: The First and the Last Experimental International Film Festival. Sydney Australia.
13th November 2016. Sound Image Colloquium. University of Greenwich. UK
Circadian Echoes (2016)
Originally influenced by Norman McClaren’s Pas de Deux (http://nfb.ca/film/pas_de_deux_en), I attempted to create a flowing dance like motion via animation techniques. Animated curve splines were programmed to mimic the movement of dancers arms and sequences were triggered by the composer imparting human gestural qualities. The addition of video feedback, further processing and multiple overlays created abstracted circular forms with greater visual density but disassociated from their original inspiration. A combination of visual and audio delay techniques create echo effects which create similarities between image and sound.
26th November 2016. Sonorities Festival of Contemporary Music. Queens University, Belfast.
24th September 2016. flEXiff Experimental Film Festival. Sydney Australia
Using rain, noise textures and pure tone glissandi and exploring their relationships to visual brightness and colour spaces. This piece of visual music and was the final piece for my PhD portfolio
11th June 2015. Understanding Visual Music Symposium, Brasilia, Brazil.
20-22nd September 2013. flEXiff, First and Last Experimental Film Festival. Sydney, Australia
3rd May 2012. NoiseFloor Festival. Staffordshire University. Stafford, UK
Space Movement Sound (2011)
A short work in two sections exploring the contrasts between colour and movement in both animation and music. Working with the idea that colour relates to space and textural timbral soundscapes in part 1. Part 2 goes on to show movement being more suggestive of dynamics, transitions and spatial position in music. These ideas are somewhat exaggerated in the two parts to emphasise this difference resulting in a quite intense video experience. Although being academically motivated Dave’s background in electronic dance oriented compositions exerts a strong influence on the aesthetics of this piece. This piece is also discussed in my article on eContact:http://econtact.ca/19_2/payling_lumia.html
12th June 2015. Understanding Visual Music Symposium, Brasilia, Brazil.
16th November 2011. XVIII International Festival of Electroacoustic Music – Meeting Point. Electroacoustic Music Association of Spain. Valencia, Spain
Theravada Colour Morph (2010)
This piece is an investigation into the relationships that exist between colours and sounds. The flow of the visual composition is heavily influenced by the electroacoustic musical structure with the musical gestures reflected distinctly in the quality of the moving images. To a lesser degree the hues, saturation and values of the colours interpret the timbral quality of the associated sounds but the inter-connecting relationships can be seen as a theme running through the piece. The music is not to be experienced as a soundtrack that runs separately to the visuals. This Visual Music should be experienced as a synaesthetic whole.
30th October 2011. Seeing Sound Visual Music Symposium. Bath Spa University. UK.
6th November 2010. Soundings – International Festival of Sonic Art. Reid Concert Hall, Bristol Square, Edinburgh
20-21st February 2010. MANTIS Festival. Martin Harris Centre, University of Manchester, UK
16th January 2010. NoiseFloor Festival. Staffordshire University. Stafford. UK