Sound Data Patches
Modular noise patches composed from graphic scores. An abstract etching is read by machine vision as notation — every stem, dot, ring and filled block becomes an event with a pitch, a duration and a place in the stereo field — and the resulting patch is projected back onto a moving image, which then modulates what it is playing. Score, image and sound are held in one feedback loop: the picture is both the surface the notation falls on and the performer reading it. Each work runs as a palindrome — forward, backward, forward, backward — so the score is always heard twice, and never the same way twice.
A spectral figure turns inside a graphic score. An abstract etching is read mark by mark as notation — stems become sustained band-passed noise, dots become grains, filled forms become low bursts — and the score is projected back onto the dancing body, which plays it in return: her motion sets the density of the grain, her luminescence opens the drone, her rising in the frame lifts every filter. The loop reads the score forward, then backward, then forward again, so the figure and her sounding are never quite the same way round.
A luminescent flower-body blooms and is sounded as a spectre of inharmonics. Here the noise gives way to clusters of detuned partials on a stretched, bell-like series — chords that breathe, low clusters that sink, strikes that arrive slowly instead of ringing out. As the bloom luminesces, the upper partials glow with it: the light in the image tilts the spectrum, and what returns is less a sound made of the flower than a flower making the sound.
The same etched score, read this time as photosynthesis. Every mark opens slowly, holds, and takes just as long to close; the strikes become swells, breaths and blooms, hanging in a dark delay so nothing quite ends before the next thing begins. Jellyfish, seed pods and spectrograms drift under the projected notation, their changing light distributed across six listening bands, so the image's brightness is the bed the sound grows in.