PHD [2010-2014]
FWO - VLAANDEREN
Conservatory Brussels - VUB [CLWF]
Promotors: Jean Paul Van Bendegem, Peter Swinnen and Kathleen Coessens.
Enlightened Sound Moving: towards a media-independent inter-medial method for musical composition.
Preliminary survey: P - Trains.
This research will build on the methodology developed in the BOAB project “Messiaen Reflected”, a collaboration between the Erasmushogeschool/KCB, DWIS and DINF/Como VUB [promoters Swinnen/Manderick/Cara; assistants Deneckere/Hillewaere/Eysermans1/Buyl, 2003-2010]. Herein a meta-model for musical score analysis has been developed, based upon statistical calculations on a numerical description of musical parameters. Building upon the underlying concepts, this project will [1] adapt the algorithms to other artistic media and [2] develop a media-independent method for inter-medial composition.
The central question is how time based art can be 'translated' from one artistic medium into another [auditive, visual, movement]. After inventorying a representative number of typical structuring principles in each of the three fields [music, trains, phosphorescence], the mathematical algorithms of the above-mentioned project will be redefined towards the different media, in order to create a uniform network of inter-medial relations, which, in different steps, will be tested on their artistic relevance in concrete, new compositions. All this will finally lead to [1] publication of a new inter-medial method for composition and [2] a major synthesis-composition, in which as diverse elements as trains [movements, physics], phosphorescence [moving light, chemistry] and all kinds of sound sources will be interweaved into a coherent inter-medial 'Gesammtkunstwerk'.
1. Context and Situation
1.1. Inter-media
The century old, traditional scission between the different art disciplines has been getting more and more vague, due to the popularization of new [digital] technologies. As a consequence, present day artists are actively searching for transitional areas in order to appeal several senses simultaneously.
This development leads to new challenges for often very old paradigms and necessitates sometimes even a total rethinking of traditional artistic methods. The potential of this innovative, fundamental artistical research however is already topical today -although there is still much work to be done. This is manifested in the birth of new organisations which consider inter-medial research as an essential asset, such as BAM [BE], Champ d’Action [BE], CITU [FR], Crew [BE], Digital Transformations [DE] and MARCEL [Multimedia Art Research Centres and Electronic Laboratories, USA].
In contrast to the cited examples, this research will focus on media that at first glance have nothing in common, in order to gain deeper insight in the underlying mechanisms of the concept of inter-mediality as such. That's why for the final composition the choice has been made for such diverging sources as trains, phosphorescence and music.
1.2. Trains
Trains, machines moving in time, have been an interesting source of inspiration for several composers during the 20th century. Think only of the Futurists [The "Symphony of signals" by Arseny Avraamov, 1922], "Pacific 2.3.1" [1923] by Arthur Honegger, "Railroads on Parade" [1938-1939] by Kurt Weil, where locomotives [15!] even appeared on stage, "Etudes aux Chemins de Fer" [1948] by Pierre Schaeffer, "Different Trains" [1988] by Steve Reich and "Metal on Metal" from “Trans Europe Express" [1977] by Kraftwerk are important train/locomotive based works.
In this research, trains are not merely considered a source of inspiration or a musical instrument, but, through [still to be developed] algorithms, they will be used as a source of parametrical information on which [still to be developed] inter-medial relationships will be built. Possible entrances are FFT-analysis of sound components, rhythm and semantics of signs and signals, rhythmic and melodic transformations of the Doppler-effect etc.
1.3. Phosphorescence
Some materials have extraordinary qualities. They are capable of absorbing energy, storing it and later on emitting part of it as light: glowing, afterglow, extinguishing time. Although almost never used in music, phosphorescence is not unknown amongst visual artists working around the concepts of time and movement. Several choreographers have explored phosphorescence: a moving image [dance] can 'be held' as a shadow. Several visual artists have also used phosphorescent materials in their installations and performances. Phosphorescence as well will produce parametrical information through similar [still to be developed] algorithms. Possible entrances are time and memory aspects of glowing, timbre applications of changing colors through analysis of color spectra, image transformation through big changes of light intensity, etc.