dr. julius | ap shows in the gallery of the new concrete with the cooperation of the Australian painter John Aslanidis and the Berlin-based musician Brian May from the UK for the first time an image + sound installation. Together, Aslanidis and May, the large painting Sonic Network No.9, which consists of four panels and 244 measure cm in the height by 304 in breadth, and a generative music piece that is designed as a response to the painting, with each other in relationship.
In his painting series used John Aslanidis Sonic Network is a row developed mathematical intervals that define through a grid on the canvas transferred foci of overlapping circular geometries. These intervals are developed compositional drawings in this sense to “score” of the paintings of this series for many years worked.
Starting from these fixed points in compositional Aslandis’ No painting Sonic Network. 9 Brian May has developed an algorithm that determines the characteristics and timing of the notes in relation to these points. The resulting sound piece is designed so that only pure sinusoidal tones of different wavelengths are generated. These are thus representations of the audio-circular shapes of the painting.
Brian May uses for its Sound composition for the real-time sound synthesis and algorithmic composition SuperCollider programming language developed by which the piece is both produced as well as playing. The exhibition will be created as correlating with the painting of a sound installation in space-mounted sound system of a computer in real time.
The sound piece is generative and endlessly, with no fixed start or end point. This correlates with the idea of infinite continuation of geometric structures is a fundamental element of Sonic’s network series. Consequently, the overall perception of the exhibition by the interaction of sound pieces, paintings and the viewer will change constantly: are the by changing the angle of view constantly occurring optical displacements of the geometric shapes of the painting in sound piece of programming SuperCollider using each as a changing sound frequencies. reflected
the intention of the sound-track, therefore, is to produce an audible equivalent of the optically vibrant geometric patterns and forms of painting. The basic characteristics of the painting such as color, structure, composition and the products resulting from the multilayered circuit geometry moiré patterns are reflected by the many superpositions of sine waves of sound the sound-track. Other aspects of image + sound installation is about the question of order and chaos, which is made by both the generative sound installation as well as in painting, and the relationship between analog and digital media and its potential synergies that result from their combination. Brian May [* 1966 in Manchester, GB] composes, produces and plays his music since 1990 in Australia, Japan, Europe and North America. Currently he lives and works as a music producer and sound artist based in Berlin and performs regularly around the world to international venues and festivals and in clubs. The first collaboration between John Aslanidis and Brian May found in an exhibition at the gallery Austral Avenue in Melbourne in 2006. It developed a music piece Brian May in response to Sonic Network No. 2nd John Aslanidis [* 1961 in Sydney, AUS] lives and works in Melbourne.He has a painter an intense relationship with music and sound: He was in the 1990s, a member of Clan Analogue, a collective of sound and visual artists in Sydney and Melbourne, and later an artist of electronic music labels Zonar Recordings. In the exhibition “Sight and Sound – the history of music and abstraction in the Australian art”, created by Steven Tonkin curated at the Arts Centre in Melbourne in June 2010, worked together John Aslanidis with the cellist and composer Ben Skepp from Tokyo, who is also a piece of music No painting on the Sonic Network. 2 composed. 2011 followed by “Sounds Good”, one of Claudia Calirman at Location One in New York, curated group exhibition in which John Aslanidis, Katy Dove, Phoebe Hui, Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch and Zane Saunders is a collective visual response to a common piece of music developed. In addition, Aslanidis was in 2011, jointly involved with Gibert Hsiao, Daniel Hill and Laura Watt, at the exhibition “Sound and Vision” at McKenzie Fine Art, New York. Aslanidis with dr. julius | ap since the exhibition “multiple multiple _” joined in December 2010.
Aslanidis + May | No Sonic Network. 9
Opening Thursday, 6th October 2011, 19 clock
Running time 7 October to 6 November 2011
Open Thurs – Sat 15-19 clock and every day by appointment dr. julius | ap Leberstrasse sixty ten thousand eight hundred twenty-nine Berlin 49 030 243 743 www.dr-julius.de email@example.com train Südkreuz + Julius-Leber-Brücke, Bus 106 + 204 to Leuthener Street
Opening Friday, October 6, 2011, 7 pm
No Sonic Network. 9
John Aslanidis [OFF], Painting / Painting + Brian May [GB], sound installation / sound installation
dr. julius | ap is pleased to announce a cooperation of Australian painter John Aslanidis and Berlin-based British musician Brian May This will be the first vision + sound installation ever in the gallery of the New Concrete. The exhibition will comprise of a large painting, Sonic Network No.9, constructed of four panels measuring 244 cm in height by 304 cm in length, and a generative sound piece, Which Will be a response to the painting.
In the sonic paintings Network John Aslanidis uses a set of mathematical intervals, Which are relative to a grid on each of the four canvases. The drawing he derive from these intervals is akin to a “musical score”. This is a drawing of compositional intervals, Which Aslanidis has used in composing the sonic network series.
It is from these compositional points that Brian May has written to Algorithm Which deterministic mines the characteristics and timing of the tones in relation to the points as conceived in the sound piece. The sine wave tones created are audio representations of circular forms.
Brian May’s sound piece will be using the programming language for sound synthesis supercollider to compose, produce and play the piece, Which Will be played in conjunction with the painting from a computer through a sound system for the duration of the exhibition.
The sound piece is generative and infinite, with no fixed start or end point in the composition. This correlates with the idea of infinity, a basic element of the sonic network series.
Consequently, the interaction between the sound piece, the painting and the observer will always be different, as the painting perpetually shifts upon being viewed and the sound piece emanating from SuperCollider mirrors this.
The intention of the sound piece is to create an equivalent of the reverberating patterns and geometric shapes, resembling the patterns in the painting. In addition to this the composer will be taking into consideration the structure and composition of the painting and respond to the moiré patterns – Which Will Be Represented via audio interference of the sine waves, known as beat frequencies in the sound piece.
Using super collider, Brian May wants to be able to create sounds Which correspond to colors emanating from the painting.
Order and chaos is present in both the sound piece and the painting, the resulting effect being one of synergy between analogue and digital mediums. Brian May [born in 1966 in Manchester , GB] has been producing and performing music across Australia, Japan, Europe and North America since 1990th Currently he is working as music producer and sound artist in Berlin, performing on a regular basis internationally. The first collaboration between Brian May and John Aslanidis was in an exhibition at Melbourne Austral Avenue in 2006. In this exhibition Brian May composed a sound piece in response to Sonic Network No. 2nd John Aslanidis [* 1961 in Sydney, AUS] has a history working in the area of music and sound, having been part of Clan Analogue – a collective of sound and visual artists based in Sydney and Melbourne in the 1990s – and later being a visual artist on recordings Zonar to electronic music label based in the late 1990s and early 2000s In 2011, for the exhibition “Sounds Good”, curated by Claudia Calirman at Location One in New York, John Aslanidis, Katy Dove, Phoebe Hui Sophie Hunter, Miler Lagos, John O’Connell, Gonzalo Puch, and Zane Saunders all collaborated to create a visual responses to sound a collaborative piece. In addition to this Aslanidis participated in the exhibition “Sound and Vision” at McKenzie Fine Art in New York, with Gilbert Hsiao, Daniel Hill and Laura Watts. Aslanidis has been participating in “multiple-multiple _” in December 2010, a group exhibition featuring all dr. julius | ap artists.
Aslanidis + May | No Sonic Network. 9
Opening Friday, October 6, 2011, 7 pm
To be seen from October 7 to November 6, 2011
Open Thurs – Sat 3-7 pm and by appointment dr. julius | ap Leberstrasse sixty ten thousand eight hundred twenty-nine Berlin 49 030 243 743 www.dr-julius.de firstname.lastname@example.org train Südkreuz + Julius-Leber-Brücke, bus 106 to + 204 Leuthener Street