As I begin to write my critical analysis for this module on my chosen source, naturally I am still questioning my grasp on cymatic frequency and Faraday waves towards an interpreted live performance scenario. Taking what I have learnt from researching multiple sources, primarily being scientific over artistic, the next step is to fuse the knowledge together with my own creative ambitions for visualised audio.

I realised a short time ago that I have not launched my DAW, nor have I picked up my camera to film anything, or edited any footage in Final Cut for two weeks now. Understandably studying for an MSc means certain things get pushed to the back of the queue. However, where my head has been submerged in scientific discourse for the last few weeks, I feel the need to actually be creative with music to refresh my perspective and remind myself in asking the question: why did I chose this path of research? In an attempt to inspire myself into undertaking a moderate amount of studio time to focus on creating some techno music, I have taken to researching relevant events to the scene which may have scope for visualised audio based on cymatic principle.

So who are at the forefront of music-visual experiences in the techno music scene? One such regular event, renowned in the underground techno music scene is Awakenings. Based in Amsterdam, Netherlands, Awakenings is a techno event held frequently at the Gashouder venue, in the old gaswork district of the city. The venue’s sheer expansive size, in all dimensions enables an opportunity to deliver an immersive audio and visual experience for all attending.

Having not personally experienced Gashouder or Awakenings yet, it would be unjustified for me to critically judge on the immersive quality of the event. However, with the quantity of broadcasts that are streamed live to YouTube from the event, these can give a good indication to the level of aural and visual stimulation that awaits any visitor. From the outside looking inside, it appears that Awakenings events use the expanse of Gashouder’s structural beams to showcase a very effective, 360° use of lighting and lasers. This includes a moderate use of visual screens, depending on which DJs or record label’s are co-hosting. As I mentioned in an earlier post about visualising techno, akin to the Detroit tradition, a dark room with simple lighting can be very effective immersion.

How could my ambitions with immersive cymatic visualisation be brought to life in such an environment? Awakenings, whose visuals are provided by KBK Visuals, clearly aspire to embrace many different objectives with their lighting show, and without suggesting a large focal point screen, I cannot help but vision a live feed from a cymascope adding extra dynamic to the Gashouder atmosphere. Perhaps being hoisted at a 45° angle on the circular light gantry in the middle of the arena, or circulated 360° around the walls. This is opposed to placement behind the DJ, as is typical in electronic music events. In theory this would potentially offer some diversity to the predominant lighting show format without making a drastic change to a forumla that clearly works well.

(BE-AT.TV, 2017)

How would this be done? KIMA (Gingrich et al, 2013) demonstrates that software algorithms can be used, however I am somewhat critical of the output resolution on display. In the age of high definition (HD), there seems a distinct lack of high quality resolution in the cymatic visuals being displayed, as is evident from YouTube videos. Without seeming too critical, clearly this is an avenue which requires more focus in future development. Personally, I would prefer to see a direct audio feed from the DJ mixer to a physical installation of a cymascope as per Lauterwasser (2006), with a return visual feed back to the VJ in the arena. This installation would likely have to be isolated away from the stage area, free from vibrational bass discharge in order to efficiently generate an equalised, accurate Faraday wave depiction of vibrational frequencies occuring in real time.

This is an avenue I am keen to pursue during my Masters studies, perhaps as a music-visual hybrid album or DJ performance. However, for the time being I will try not to jump to far ahead and focus on continuing to research cymascope technology for real-time performance.

References:
KBK Visuals (n.d.) Awakenings at Gashouder [Online image]. Available at: http://www.kbkvisuals.com/project/awakenings/ [Accessed: 08 November 2017]
Resident Advisor (n.d.) Gashouder [Online image]. Available at: https://www.residentadvisor.net/club.aspx?id=3154 [Accessed: 08 November 2017]
BE-AT.TV (2017) Ben Klock @ ADE 2017 – Awakenings x Klockworks present Photon [Online]. Available at: https://youtu.be/BjGE79i6YPg [Accessed: 08 November 2017]
Gingrich, O., Renaud, A., Emets, E., 2013. ‘KIMA — A Holographic Telepresence Environment Based on Cymatic Principles’. Leonardo 46, 332–343. [Online]. Available at: https://muse.jhu.edu/article/512222. [Accessed: 4 October 2017]
Lauterwasser, A. (2006) Water Sound Images: The Creative Music of the Universe. Illustrated ed. USA: Macromedia Publishing.

#Reflection