White Light Black Static (2015)
Marcel Wierckx
Ten years after his audiovisual composition Black Noise White Silence impacted itself on the retinas of countless fans of electronic music, Marcel Wierckx reworked the algorithms from that piece to create a new, live audiovisual performance in 4DSOUND: ‘White Light Black Static’. Integrating his code with 4DSOUND, this new work explores a next level of immersive experience by combining multi-screen projection, spatialization, and intense synchronicity into a live improved audiovisual performance.
“Exactly 10 years ago I came up with the idea of simultaneously visualizing and sonifying a recursive process using the fast fourier transform in real-time. That initial research led to the creation of my first fully immersive audiovisual composition: Black Noise White Silence. Since then I’ve been developing this idea further, refining the algorithms in order to process data at a higher resolution and speed, and updating my patches to take full advantage of new computer hardware as it becomes available. For White Light Black Static I’ve gone back to my core software routines from 2005 and rewritten them in the OpenGL shader language. I’ve also rewritten the audio synthesis engine so that it can be integrated seamlessly with 4DSOUND. Together this gives me extremely detailed control over the spatial positioning of both image and sound in real-time, allowing me to generate and manipulate complex audiovisual processes live.”
“Exactly 10 years ago I came up with the idea of simultaneously visualizing and sonifying a recursive process using the fast fourier transform in real-time. That initial research led to the creation of my first fully immersive audiovisual composition: Black Noise White Silence. Since then I’ve been developing this idea further, refining the algorithms in order to process data at a higher resolution and speed, and updating my patches to take full advantage of new computer hardware as it becomes available. For White Light Black Static I’ve gone back to my core software routines from 2005 and rewritten them in the OpenGL shader language. I’ve also rewritten the audio synthesis engine so that it can be integrated seamlessly with 4DSOUND. Together this gives me extremely detailed control over the spatial positioning of both image and sound in real-time, allowing me to generate and manipulate complex audiovisual processes live.”
Related:
4DSOUND: A Retrospective (2015)