Nio

Nio

Submitted by NT2 on Wed, 10/24/2007 - 16:12

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Ce logiciel créé pour le Web permet à l'Internaute de manipuler des séquences sonores, représentées graphiquement par des lettres en mouvement, qu'il choisit d'ajouter au flot mélodique. Les sonorités différentes composent ainsi une musique principalement vocale. Il est aussi possible pour l'internaute d'accéder à une version augmentée de l'oeuvre, proposant de créer quatre couplets dont l'intensité du volume pourra être réglée pour chaque ligne instrumentale/vocale. L'internaute qui voudra créer une oeuvre similaire pourra utiliser le code source de Nio, gracieusement offert par l'artiste.

Contenus reliés

Esthétiques minimalistes II

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« When I first started interactive audio for the Web, being a writer, I was attracted to experiments with poetry. But I was interested in layering sounds, so it seemed, after some experimentation, that musical sounds were more interesting and engaging layered than words. When you layer words, they make a certain type of sense and have certain resonances, but they're quite different from musical sense and resonances which, at the moment, I find more fundamentally expressive in interactive audio. I recorded sound poetry some time ago. It was a way into things that cannot be said in words but sometimes need saying. Written words and sentences do not have easy access to the primal or the harmonic/dissonant reveries of pure sound or the meaningful repetition, variance, trance, and pattern of the drum. Though, on the other hand, poetry has access to beauties, voices, song and thought that music can barely contain. Inscribed language and voice extend along many dimensions including the air. As sound poetry is to spoken poetry, so is visual poetry to written poetry, often. I've been drawn for years to visual poetry, particularly lettristic visual poetry that deals in syllables and letters as opposed to words, phrases and sentences. For the above reasons, but also because in the digital realm the shapes of letters are more various than the shapes of words, which tend to be elongated rectangles. And, as a programmer, a letter is typically a continuous thing on which various transformations/animations are more visually appealing and suggestive than on whole words or sentences. Letters are characters. They have more character than words do, in some ways. And since they take up less memory than whole words, they're more amenable to smooth animations. Which opens up the possibility of experimenting with the tone and rhythm of motion, whereas much literary animation on the Web is sufficiently jerky that it needs to depend almost completely on the conceptual dimension of the animation, the sense of the words and how they permute or the situation, rather than being able to dance with human feeling, with the gestures of the body, with the body of the body. Sound poetry and visual poetry are often in strong relation anyway. Poets doing sound poetry realize that printed versions of their work would not exactly fit in nice stanzas, usually. And visual poets seeking to perform their works often resort to sound poetry, given the non prosy spaces in which most visual poems operate. I wanted Nio to combine the visual, sonic, musical and interactive as integrally as I could in aspiring to some poetic, writerly realization of vismu. » (http://soundtoys.net/toys/nio)

Biography

Andrews, Jim

Jim Andrews est un artiste-programmeur, poète visuel, essayiste et rédacteur technique. Il publie entre autres sur vispo.com, webartery.com.

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Andrews, Jim