This channel provides music and video experimentations. Much of the work is derived from personal visual collages and aural soundscapes creating surreal and dynamic experiences. Visual synthesis is the creation of visual imagery and composite works built up from different visual sources to create unifying structures. Music synthesis is the creation of musical compositions and soundscapes built up from various elements to create a self-contained work that is a musical expression in its own right. The strange and the mysterious evoke our sense of wonderment and awe. Departing from the everyday and into the realms of mystery and imagination enables other dimensional influences to enter our experience. Audio and visual synthesis fosters complex arrangements and probabilities and serendipities. Synchronicities with musical compositions and multi-layered complex visuals play with light and movement, creating cascading combinations of sound and image, modulating forms and subjective rhythms.
This guy works so slow! And the result sounds like a musical greeting card! 😅 I also find it funny how he basically describes the robotic vacuum cleaners we've had for 20+ years! 😅
For anyone who's not autistic, here's an easier to read version of the megalithic text block in the description: I have a strong fascination with logical pattern forms and patterns derived from processes where logic or arithmetic functions (and their simulations) are applied. Using simple X and Y counters or checkerboard forms, logic applied to these simple elements can yield very interesting developments. The principle modes of interaction include AND/OR/XOR, addition, subtraction and multiplication are also used. The XOR (Exclusive OR) operation is particularly interesting because it can turn two input patterns (monochrome) into dynamic areas where each element region appears in the opposite light or dark shade. The composition embodies explorations into logical animated pattern development, much like the logical patterns that could be created with digital imagery or digital video. The EMS Spectron video synthesizer could create such logical animations, and using the theory from such machines, effective emulations can be created with added elements to enhance the animation effect. The composition was constructed in three sections - an introductory section comprising modulating textures and circular organic forms, the second section comprising more complex interactions and image overlays/external keys. The third section began by portraying more minimal interactions - likened to logical elementary phase formations, but this changed with the inclusion of start motif graphics with a colour-cycling effect to create animation. The colour-cycling graphics morphed into one another by use of Alpha transitions based upon the patterns themselves. The colour cycling provided an interesting contrast to the strict logic of the proceeding graphics. The three stages were created separately in order to achieve an independence in the editing process and so that elements from one section are not repeated in another. The three sections were joined together with additional overlays and graphical elements and together with the original electronic modular synthesizer music, formed the completed final master composite. I am fascinated by the electronic "textile weave" logical interactions of basic monochromatic elements, such as X and Y counter stripes. This being - generation into development, into a resolution. The approach therefore is a design that evolves and transforms using fundamental mathematical functions such as AND/OR/XOR, addition, subtraction. Organic external keys and soft linear wipes are used as a contrasting balance to the strict linear geometrics. The possible permutations of logical linear interactions with just horizontal and vertical counters is enormous. Playing with such divisions and imparting movement in either the X or Y plane, or both planes, creates numerous geometrical combinations that can be used for interesting abstract image developments. Imagery representing either the macro or microcosms are implied by the relationships animated by either the background logically-derived "textile weaves" or the organic/sinusoidal overlays that pulsate like cellular organisms. Also implied is the idea of particle interactions, and the world of the sub-atomic. The additive synthesis approach also stems from the process of not only adding the three sub-sections together, but that this composite master is further enhanced by the inclusion of added overlays and superimposed graphical elements. Boolean or arithmetic operations can create very interesting image results when two or more patterns are interlaced to form new formations. This is true for still or images in motion. Complex interactions can result when two video tracks have been generated by logical constructs as well as the external key combining the two images. Here, we have three image elements all in dynamic motion - the first video track, the second video track, and the external key creating divisions of where the different tracks will appear. The visuals have been embellished with extra graphic elements - added to the logical back grounds, creating complex visual compositions. Towards the end of the work, star-shaped graphics are mixed with star-burst light effects, each element using an Alpha wipe pattern based upon the visual itself ( a colour-cycling extravaganza). The ambient background music has been composed with aural textures created by a Eurorack modular synthesizer system - oscillators, filters, switching sequencing techniques, ring modulation and logic combinations together with some frequency shifting and delays. Several texture tracks were synchronised to the visuals with added signal generation tones to create an added overall ambience. The total effect is one of exploration. From logically-derived patterns and formations, to organic light overlays, to celebratory designs concluding the work. Many visual elements were added and mixed during the process of creation. Formation and evolution were the key concepts to be explored. Various light-effects enhance the experience so that the work celebrates the metaphysical and the cosmic.
Vorhaus visited Middlesex University circa 2007, with Mark Jenkins, and delivered a lecture/performance. I treasure my signed White Noise CD - one of my desert island electroacoustic works.
Oh! It's mesmerizing. Ah its so powerful, its taking over my brain! I can't, resist, I have this overwhelming urge, to, to... click the pause button and watch a different video
I realize that Peter was fortunate enough to have had ‘spousal subsidization’ support, but that, in no way, lessens the absolutely gargantuan, and seminal (and sacrificial) contributions this man made in the service of advancing the entire realm of synthesizers dba musical instruments. I do hope this gentle synth dynamo is RIP.
1979, wow. Genius. I did a lot of experimenting with tapes and cassettes myself, until I bought my Casio SK-5 sampling keyboard. Spent a lot of time making music like this. A shame all my cassettes disappeared in a fire.
Multi track recorder? 4 mains leads of 4 tape recorders wired to 4 leaver switches on a peice of wood! Creativity in action. More money doesn’t mean creativity. Hence the holding of breath as Dr Who gets Disney funding for its 60th. Hmmm expensive bland suit crap.
