Workshop 2

Real-time Visuals Workshop 2
Jun. 18, 2013
Goldsmiths College
New Cross, SE14 6NW London

Theme: Process-based Sound/Image Linkages

Organizers: Adriana Sa, Adam Parkinson, Atau Tanaka

The second in our year long series of workshops focuses on process-based approaches to sound/image relationships. It will broaden the scope of debate, embracing a diversity of approaches to the audio-visual. The workshop programme includes presentations discussing the motivations, the challenges and the inspirations that inform the design of custom audio-visual instruments and systems. Artists may explore metaphoric correspondences between sound and image, structural, and non-metaphoric audio-visual relationships. They may emphasise or minimise the morphing of a physical input through data abstraction. An evening event in the Goldsmiths Cinema will present live performances of process-based sound/image works. These events will be of interest to artists, performers, musicians, researchers and students working with audio-visual media.

The day time symposium talks will take place in:
New Academic Building (NAB) lecture hall LG01 (GREEN on map)

The evening concert event is open to the public, and will take place in:
The Cinema, Richard Hoggart Building (RHB) 185 (RED on map)

Please register for each event separately using the Eventbrite links on the right. 




10.00-10.40 Keynote
Naut Humon, San Francisco USA, founder and artistic director of Recombinant Medial Labs

RML’s focused nomadic project the CineChamber  is a large but intimate rectangular surround surface apparatus, capable of scaling its 8 by 12 meter proportions to fit into auditoriums, theatre stages and concert halls at special locations  on the global circuit. The platform offers extensive, immersive intermedia production opportunities and can be utilized by artists and innovators in a variety of ways.  This full AV CineChamber can be “played” or manipulated as an AV instrument and urges artists the opportunity to take their creative impulse to  further ranges of aural, optical and cinematic expression. Numerous renowned artists have crossed paths with California editions of the CineChamber & its companion underground SF location at the Compound including Pansonic, Ryoji Ikeda,  Maryanne Amacher, Thomas Brinkmann, Pole, Kode 9, Biosphere with Egbert Mittelstadt, Ryoichi Kurokawa, Alva Noto and Blixa Bargeld and Christian Marclay and many more in the last decades.

10.45-12.00 Session 1

Nuno Correia (Aalto University Helsinki) AVVX: AudioVisual Vector eXchange
Ryo Ikeshiro (Goldsmiths College) Construction in Kneading: Live audiovisualisation of a Mandelbox
Anna Weisling (University of Wisconsin, USA) A Case For A Notation System For Live Visual Performance

12.00-13.00 LUNCH

13.00-14.15 Session 2

Mick Grierson (Goldsmiths College) Sound Image and Brain: Audiovisual Interaction for Real-time Visuals
Freida Abtan (Goldsmiths College) Expanded Presence And Inter-Sensory Gesture In Multimedia Performance
Joseph Hyde (Bath Spa University) The Seeing Sound Research Network

14.30-15.00 COFFEE BREAK

15.00-16.30 Session 3

Ireti Olowe (Queen Mary University of London) New Approaches to the Sound Visualization of N-Track Non-Notated Electronic Music
Toby Heys (
MIRIAD at Manchester Metropolitan University) AUDINT (with Steve Goodman) Martial Hauntologies / Unsound Histories
Toby Harris (Queen Mary University of London) About the Live in Live Cinema

16.30-17.00 Discussion

17.00-20.00 DINNER/FREE TIME



The Cinema, Richard Hoggart Building (RHB 185), Goldsmiths College


Halveplane v4.0 
Flam v4.2 
Masako Tanaka  &  Markus Popp  (OVAL)
Screening preview presented by Naut Humon (the artists will not be present)
Halveplane v4.0 and Flam v4.2  are parts of visual representation series of Oval’s early 2000’s period delving to visually simulate the fragmentary and densely layered sound blasts with irregular textured and complex percussive elements; as the listeners perceive Oval’s intricate integration of processed audible electrical glitches and tonal instrumental sources with their eyes.
Anna Weisling
Spaces was inspired by two versions of space: physical distances almost inconceivably large and figurative distances between two disparate lives. Echoes was inspired by the reluctant yet inescapable realization that you’ve been repeating yourself and are not particularly pleased with what you were saying in the first place.  The videos are generated by glockenspiel recordings and  shaped over time by the visual performer.
SkySequence – What does a country sound like?  If we could listen to the movement of its people, its traffic, what would we hear? SkySequence is data-based; At the core it is utilizes data to drive a performance and allows visuals to dictate audio (generative sonification). The performance uses maps that chart airplane traffic in the US and UK over the course of 24 hours. Each musical section corresponds to a part of the procedure before, during, and through takeoff and cruising altitude to simulate the tension and release of the experience when flying.
End Transmission
Joseph Hyde
End Transmission combines two long-term obsessions: extremely degraded material on the boundaries of recognisability, and complex audio-visual relationships. It follows a series of experiments where audio and video signals were made to interfere with one another (in a very lo-tech ‘hardware hacking’ scenario). Several pairs of video senders/receivers, of the domestic variety used to transmit satellite tv around the home, were used to send audio and video signals and cause them to ‘jam’ each other to produce the glitchy images and sounds. This process was quite performative, and many little fragments and gestures were produced, to be edited meticulously, often at the frame-level, into a fixed-media composition. 
Composition: White Square, White Circle  (published by s[edition]) 
Ryo Ikeshiro
Composition: White Square, White Circle is a live audiovisualisation work based on a 3D fractal created through a recursive process much like kneading dough. This same process is used to produce both the sounds and the moving images and so what you see is what you hear or vice versa, without the one triggering the other. It is like an instrument or a machine that is unpredictable and chaotic, and in performance the audiovisuals are generated in real-time through interactions with the system.

AV Clash
Nuno Correira
Developed by Video Jack (Nuno Correia, André Carrilho and Gokce Taskan), AV Clash allows the creation of audiovisual compositions, consisting of combinations of sound and audio-reactive animation loops. AV Clash is composed of 4 audiovisual ‘objects’, which can be dragged and thrown, creating interactions (clashes) between them. The sounds in AV Clash are retrieved from, an online sound database.
Delusions of Alien Control Pt 4
Mick Grierson 
An improvised, interactive audiovisualisation of a complex real-time non-linear system.