NOISE (short video 2.15)
The video contains repetitive flashing and compression artifacts.
The video is built around a five letter random generator (written with Processing), the base sequence was programmed to run at 60 frames per second, the sequence runs through consonants in the first letter position and then vowels in the second and third position, consonants in the forth and any letter in the fifth, any meaning is a result of accidents with one exception, the word NOISE has special status once the generator creates the word the program holds briefly. The base sequence is projected on an NS10 speaker, which is shown on a portable CRT TV and the result of that finally shown on a contemporary monitor all within the context of time passing. The choice of type face is very specific.
The audio is driven from a random selection of letter sounds (written in PureData) and short samples based around an E11 chord. The audio drops into compressed mono when the random letter generator hits the NOISE combination.
NOISE (site specific installation)
The code and edited audio is available as a site specific long form installation (days, weeks and or months, subject to testing and alteration). The installation has a distinctly slower pace and doesn't use CGI post production, but is truly random and each frame unique. The exact specification would depend on the demands of the location. Technology can range from the recycled domestic to brand new corporate video walls or any combination of the two and all points in between.
NOISE (underlying concepts)
The pieces reference the amount of chatter the surrounding us and the nature of compression needed to facilitate that volume of signal traffic. The work was inspired by the complex relationship between words and time, specifically during the creation of a complex studio system and the search for truth whilst trouble shooting extraneous noise both visual, aural and physical (X, Y, Z) within real and virtual spaces. In this instance four different millisecond delays drifting over hours to create perceptible problems at the junction of the real and the imagined.
Jonathan Spencer 03102012
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