5pwr7 Morphogenesis
Media Art, 2014

ten days< span>

Media Art, Sound Art, Soundscape, Granular Synthesis


5pwr7 Morphogenesis
This project is based in a morphogenetic composition, in other words, it evolves through a time based evolutionary structure, which will incorporate polynomial and differential mathematical formulas. As behaviors emerge from the synthesis process during any dynamic progression, the generative methods will be initiated by composing these mathematical factors and behaviors between voids bounded within existing or given conditions. This potentially will manifest a piece that cannot be exactly defined, like its delimiting sounds it manifests increased continuity despite its fragmentation. Tracing an element as an additive synthesis will require an abstraction to the existing sound relations, resulting into some extent in an atonal open work.

The initial data will adjust to describe the emerging sound clusters in the piece, such as proximity, separation, spatial succession, area and continuity. The algorithm will be a dynamic patch, to some extent unstable and continuously evolving. It bares the traces of the activity that brings rules. The decomposition of the piece becomes a map of its original process, synthesized scripting performances which evolve initial intuitive responses into primary techniques as triangulation, stratification, repetition or formal geometries such as strips, sine waves or spirals.

The manipulation of these patches in order to produce volume will constitute a curriculum of sounds, therefore the generative transformations are structured in sequences. Like a dynamic diagram, the succession of transformations resulting to the piece as a genetic algorithm of form. The task in this phase is to decipher the algorithm as a morphogenetic mechanism.

Generative sequences, augmented techniques, time, frequency and inventories of transformation are submitted here as definitions of the algorithm. Understanding and developing the algorithm transgresses the singularity of the object spawning a series of similar but varying sounds. This re-introduces the problem of documentation, requiring “synthesis” as a set of instructions that include time and frequency as variables.