Paixões Diagonais

INTERNATIONAL FOUNDATION ARTECITTA

INTERFADO PROJECT

VIDEO AUTHOR: Arlene Rabinowitz

SONG: Paixões Diagonais

Lyrics: João Monge
Music: Fado Miguel. Miguel Ramos
Piano: Pancho Marrodán
Voice: CAROLINA BLAVIA
EP: Fado Enllà
Ed House Made Records 2012

Visual Music Abstract Art

In this gentle quiet melodic song I studied the following learning situations:

      Exploring inner and outer spaces in relation to the sound.

      How shapes relate to each other with the use of colour.

      Creating a rhythmic arrangement through contrast of warm and cold colours.

      Exploring colour inter-blending.

      Expressing graphic sound properties as a sensation.

      Exploring graphic sound property in relation to the occupied space format.

      Developing the ability to sense emotions through coloured shapes.

·         Recognizing sections in the music that repeat themselves.

      The use of vertical and horizontal lines to create open and closed spaces.

Process

Each graphic sound property was created to a musical tone preceding the one before it. Various techniques were used one that of making subtle colour changes as well as sharp colour contrasts within the same composition. Discovering balance and shape relationships as well as movement within each frame. The adding and subtracting of the graphic elements with accordance to the melodic sound. The development of a mental sensitivity to the ascents and descents in the sound, and translating this perception of the sensations to coloured forms.

Two videos were made one focusing on the vocals and the other on the piano after which these were overlaid to produce the final video. A compensation had to made due to the superimposing effect thus in this final piece the stills were not assembled in sequence order rather a new video was made of the collections of the stills.

Arlene Rabinowitz 2013

Mar E Fados

Balado do Silencio

Porto Santo

EVASIO

INTERFADO PROJECT
INTERNATIONAL FOUNDATION Artecittà
VISUALS: Arlene Rabinowitz
SINGER: Carolina Blavia
LYRICS: Rosa Saureu
ARRANGEMENTS: Pancho Marrodán-Miquel  Hortigüela
PIANO: Pancho Marrodán
CLASSICAL GUITAR: Miquel Hortigüela
MUSIC: Agusti Garcia
Images were created with the software Meta SIGCA

Methodology

The video was made by memorizing notes and translating the sound into shapes provided by Sigca software until the completion of the video.

The placements of the shapes were intuitively chosen throughout the video.

Creative listening process

Following numerous listening sessions of the song, sections were memorized and shapes were introduced to the tones. The software provides options to manipulate the sizes of the shapes corresponding to the sound as well as considering the special distance between the shapes in real time and the shapes and colours then adjusted to the sound. The arrangements of colour were dependent upon adjusted contrasts and harmonies as in the musical piece.

The aim on the onset was to use a technique whereby colour changes occur within the same space, and thereafter, in different areas that the composition becomes entirely improvisatory.

It was not the goal to create definite repetitive patterns to the sound but rather make new abstract forms along with the music to form new integrated expression of graphic design.

A set of visuals was done specifically for the vocals which were then overlaid on the original video. The still sets that were collected were arranged into short videos whereby these were overlaid and superimposed into the final piece.

The Sigca software tools aided the following:-

-The shapes were intuitively and improvised to the sound. Each note/tone represented by a shape and distinct colour.

-The production of a series and sequence of colour harmonies. The attempt to produce a given colour on the screen to remain there until succeeded by another to correspond with the length of a note in the music.

-Introducing repetition for the element of time.

-Use of glow tool to enhance the shapes with added light.

-Use of colour tool to make gradual transformational colour changes.

-Use of pitch to match colour, direction of shape.

-Exploring the relationships in spatial direction and placement from each other.

-Each shape made to the tone of the sound and is continuous to the preceding shape and form.

-Making images to the sound of different instruments and overlaying them.

-Making an attractive colour scheme that blends well with the sound.

-Considering the effects of intuition and emotion from the sound and the visuals.

-Perceptual appearance has the capability of feeling different colour sensations by adjusting the brightness/glow of the shapes which affects the intensity of the sensations.

-Perceptual organisation through the use of irregular geometrical areas and the figures perceived as assemblages by nearness, similarity, colour compatibility and continuity.                                                                    

Summary
The visuals have the power to stimulate emotional sensations and enhance imagination in abstract form. By correlating each sound to an abstract shape, and adding other shapes to the music, one loses all sense of realism. This allows for a fresh start and further increase imagination faculty as well as creative faculties.

The abstract forms allow the mind to generate inspiration to further creative endeavor of

one’s choice.

Arlene Rabinowitz