Technically speaking, a Blu-ray Audio Disc is a normal Blu-ray Disc that can be played on any Blu-ray player. But it does not hold any video content. The high memory capacity is used for high-resolution audio files (Stereo PCM 24 bit/96…
Technically speaking, a Blu-ray Audio Disc is a normal Blu-ray Disc that can be played on any Blu-ray player. But it does not hold any video content. The high memory capacity is used for high-resolution audio files (Stereo PCM 24 bit/96 kHz). It is operated via the screen like an ordinary CD.
Visualisation of sound is an increasingly popular trend in our over-mediatised age. However, if we reduce the idea to its essence regardless of any extreme forms it may assume, it reveals itself as plain synaesthesia, artistically an all along familiar concept. This is what it is all about: perception with our different senses in an ideal balance beyond the point of sensual distinction where hearing and seeing merges into one. Merging of the senses is the practical basis of the visualisation of music, which goes against the standardised visualisation of classical music all over today’s media. But music delicately removes itself from the scene when it’s fragile nature and subtle meaning is optically violated. The common artist-focused visualisation severs the „music-spectator“ downright from the music. By the end he is barely able to remember what the showcased artist actually attempted to convey. In less drastic cases the music is at best diffused.
Music with a „message“ requires collection of the mind, or else it ceases to speak and instead distorts its message as visual diffusions incapacitate the spectator’s ability to listen. Challenging classical music in the spirit of Beethoven and his followers is particularly susceptible to such distortion of its actual meaning. There have been too few attempts to counteract this phenomenon. One of them is director Jan Schmidt-Garre’s experimental approach with Beethoven’s late string quartets: an „audio-image“ consisting of nothing more than one would see in the concert, one single master shot giving the possibility to settle visually. It is „visually ideal“ for listening - in terms of the demands the music has on its audience. This approach offers the rare chance to experience the music through both senses with the utmost focus without having to close one’s eyes...
It is some kind of optical aesthetic of the music as it happens, here and now. Here the nature of the music, it`s happening in an „ideal now“, is quintessential.