Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise

Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise

To accompany Vladislav Delay and Eivind Aarset’s collaborative track ‘Single 22’, audiovisual artist AGF used Hydra, an open source, browser-based video synthesizer to create live encoded generative visuals.

As Room40’s Lawrence English points out, it’s no wonder Sasu Ripatti and Eivind Aarset finally met. Both artists have defied the precepts of their respective musical fields, Ripatti over the course of his genre-defining career as Vladislav Delay, and Aarset with his tireless efforts to squeeze every tone, shade, and mood out of the guitar sound, an approach which has led to essential collaborations with innovators like Jon Hassell and David Sylvian. Together, as Delay/Aarset, the artists explore beyond the frontiers of improvisational sound, folding immense slabs of radioactive feedback and low end weight over transcendent electronics and empty drones. As if they were echolocating alien monoliths in black depths, their compositions take shape through the built-up pressure and constant energy pulse of experimental sonic excursions, transmissions sent outward to be enveloped again in an ever-expanding texture, flickering within. and out of focus. This is a sound that defies description, a music to be felt, a quality that contrasts with the visceral practice of each of these artists. It makes sense, then, that Ripatti’s partner and frequent collaborator Antye Greie, the AV artist AGF, would seek an equally elusive visual system to accompany ‘Single 22’, a highlight of Delay and Aarset’s collaborative Room40 album, Singles.

Read More :   Twitter Videos Bokeh Laughter Watch Full Bokeh Videos Jpg Gif Png Bmp
Delay
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise 7
S2
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise 8
Delay
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise 9

“I participated in a workshop during the pandemic led by Olivia Jack showing us her Hydra project online and it was a lot of fun,” explains AGF. “I love the generous browser-based concept, the accessibility, and the mathematical translation into colors and motion. I find the live coding community wonderful, a real community, not what is used today to market businesses. I thought I’d try my first piece based on a sketch. For me, the value is the accessibility, the subsequent aesthetics”. Combining the results of a research practice exploring the aesthetics of distributed networks, feedback, collaboration, and chaos, Hydra is an open source, browser-based platform for live coding images. Built for the express purpose of enabling real-time online peer-to-peer collaboration and inspired by analog modular synthesis, Hydra enables connected browsers, devices and people to emit a video signal or stream and receive and modify streams from other browsers, devices and people Multiple visual sources, including oscillators, cameras, application windows, and other connected windows, can be transformed, modulated, and composed by combining sequences of functions. The code for these functions is displayed on the screen, the open source nature of the code projected out from the browser window.

S6
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise 10
Delay
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise 11
S5
Vladislav Delay, Eivind Aarset and AGF give generative form to the fearsome noise 12

Built on the notion of using a modular synthesizer as a blueprint for understanding the web, Hydra reconfigures the web page as a site for performance, recoding the browser window through which the page is rendered as a distributed stage that can be shared by everyone who uses Hydra to connect to the performative network. “Instead of thinking of a web page as a ‘page’, a ‘site’ or a ‘place’ that you can ‘go’, what if we think of it as a flow of information where you can set up connections in real time? ” Jack asked in a 2019 interview on CDM. “I like the browser as a place to share creative ideas – anyone can load it without having to go to a gallery or install anything.” By turning the browser page into a node in a generative feedback loop, Jack creates a distributed, non-hierarchical collaboration space, with each node influencing and interpreting the others. It is this non-hierarchical model that Hydra gives its name, a reference to the distributed nervous systems of Hydra organisms. Just as AGF is drawn to the accessible, post-aesthetic process of using Hydra, so too the respective sounds of Delay and Aarset go back and forth with each other throughout Singles, wrapped in a collaborative system of feedback. The fearsome noise of ‘Single 22’ takes shape through Olivia Jack’s code, jagged glaciers of glitches and crushed pixels guided in and out of existence by AGF, Delay and Aarset’s indefinable textures manifesting in intangible mathematical forms.

‘Single 22’ is taken from Singles, which arrives on Room40 on July 8th. You can find AGF and Olivia Jack on Instagram.

See next: Anetha, UFO95 and Orgaphine discover mutated forms of slippery sexuality in Wet For It