In collaboration with Alexandra Gavrilova.

Frequency Modulation is a method of interaction between two or more oscillatory processes in sound, radio waves, and other processes that have frequency characteristics, or, in a narrower interpretation, a method of sound synthesis that uses this process to create complex timbres.

In the context of sound practices, FM has influenced many genres from pop music to sound art and noise music. This type of synthesis became widely used in the late 1980s when Japanese manufacturers released successful and affordable synthesizer models with a synthesis architecture based on frequency modulation.

The special, cold, and infinitely variable timbral character of this type of synthesis is recognizable and loved by artists and musicians to this day, and is also the subject of research and experimentation both in scientific circles and within artistic practices.


Next to each screen is a "peephole" (photo-sensor) that looks at the screen and perceives changes in the brightness of spots and stripes on it. The data from these sensors are fed into a program that creates generative sound based on FM principles, and the sound, in turn, affects the images, creating feedback between the screens and the program that creates graphics for them. The texture on each screen is generated by LFOs, that affects each other frequency, using the concept of FM for graphics. LFOs' values are turned into brightness of red, green and blue channels of a pixel line to create an oscillating image. Thus, the work combines two media - sound and generative graphics - into a single complex.

hard:
- 6 ldrs
- 5 lcd monitors
- 1 channel sound system

soft:
- vvvv
- max/msp

Commission by Polye.

Special thanks to Valery Oleynik, Anna Yudakova, Nastya Soboleva.