EVENT | Jun 19,2018 | EN

World Premiere of the Time Machines 2018 live a/v show at Festival Forte.

The legendary Drew McDowall, who was an active full time member of COIL in the nineties, having produced albums that marked a generation such as Time Machines and Musick to Play in the Dark will team up with visual artist Florence To, known for her sound and light installations with generative motion graphics and light productions focusing on architectural spatial design. Together, they will present for the first time ever the “Time Machine 2018 Live A/V” show. Patterns of fibrous metallic waveforms and reverberated percussions that are pulled and spun around the spectrum defined by Drew’s musical hardware combine with the visual framework of Florence To.

“4 Tones to facilitate travel through time.” – Temporal slips in time and space, allowing both the artist and audience to figuratively ‘dissolve time’.

In the intromission theories it was supposed that objects emitted minute images or replicas of the themselves, called “eidola” or else it was supposed that the surface of objects detached itself like the skins of molting snakes or insects into films called “simulacra” (also meaning in the sense of artificial life forms), which entered into the eye. Bearing the imprint of the original objects like an impression in wax, the eidola or simulacra evoked the perception of these objects.

Note that the simulacra were very different from the light rays or photons that physicists know today, because they had the property that they were capable of informing the mind about the nature of the objects they came from. No one had the idea that an “image” might be formed by reuniting the rays emanating in all directions from every point of an object. And if they had had such an idea, they would have rejected it immediately, since if the image was two-dimensional, how could it give the information about volume that vision provided.

Translating the idea of minute images by creating audio reactive textures (working with the low frequencies) to slowly reveal or flash what may be an image underneath the granular textures. Using granular noise and defined lines that slowly build up, into an architecture pattern – from noise extruding gradually in the beginning building up into a pattern, paying attention to scale to work with darkness and also compliment the light design.

By working with a simple visual framework, the visual information to progress over time hypnotizing the audience but to also break the trance by irregular flash of a brighter visual (similar form to the current visual but brighter and defined) thus creating a similar pattern to create a hallucination and also an awkward moment between the performer and audience.

This would be an entirely digital production to keep the visuals live audio reaction with the frequencies. Using geometry, fine lines, high definition noise, fine particle extrusion mixed with fine lines, monochrome and saturated colour form embedded within noise particles. To prevent being obvious from using colours that are associated with hallucinations, what might be quite effective would be using colours associated with colour blindness. The visual texture will be simple, not overloading with visual information so the eye perception can understand what is happening…gradually. The colours will be in a subtle rotation within the frequency spectrum so the eye can react with the changes.