Becoming Carsten Nicolai

BECOMING...

B3Carsten Nicolai

BECOMING ... CARSTEN NICOLAI

Carsten Nicolai is visual artist who works intensively in the transitional area between art and science. As a visual artist he experiments with various electronic equipment in the pursuit of finding a common ground between the sensual perceptions of man, that being mostly focused on seeing, listening, touching and feeling. During the pursuit of finding these connections, his work also incorporates mistakes and errors as interesting occurrences that shouldn’t be ignored but embraced and understood. Most of his work implements geometrical shapes and natural phenomenon theories found in nature. While implementing these elements in his work, he also devises self-organizing processes

to illustrate these events. While researching an experimenting with visuals, Carsten is also a creator of music, which he has produced for several years. His tracks, which he produces under the name of ‘Alva Noto’ can be found in the genre of electronic music. They consist of high frequency sounds with acoustics mostly accompanied in his performances with visual symbols. Being multi-talented with his music production, he performs live incorporating his unique visuals and sounds. Most of his performances and creations are collaborations with other visual artists such as Ryuichi Sakamoto, Ryoji Ikeda (cyclo.), Blixa Bargeld, Michael Nyman, Mika Vainio or Thomas Knak (opto).

RESEARCHWho is Carsten Nicolai ?

Below: Images of Carsten Nicolai aka ‘Alva Noto’ during a performance with some of his popular installations, Snow Noise (center) randomlogodot (top right) and telefunken (bottom right).


As mentioned in the brief, group members had to research their given artist, thoroughly, understand his or her practice and be able to fully relate to their work. In order for us to present and show we had become Carsten, each of the group members chose specific pieces that we favored as his best work. After choosing these particular pieces of work, we devised a method of presenting by each group member presenting their favored piece, and then saying what they liked about it in German since this was Carstens native language. Unfortunately, it didn’t coincide

with the brief. This led us to the simple idea of presenting his biography by each group member reading the script while several pieces of his work would be projected around the room as a way for everyone to feel engulfed by his work and somehow feel like they are a part of it. The idea was pitched for the presentation during a crit but unfortunately this idea didn’t fully show the group had become the multi-talented visual artist. We were directed back to his projects and were told to dig deeper into the mindset of Carsten and what were his main concerns as a visual artist.

Below: Image of Carsten collaborating with other artists during a performance.

DEVELOPMENTBecoming Carsten Nicolai


For Carsten Nicolai as a visual artist, several aspects were observed as an individual, he is multi-talented and produces visual work, audio tracks and performs live for audiences as well as collaborating with fellow artists. In order to understand the artist more, several pieces of his work were researched and analyzed while noting what other artists thought of them. Various words were consistently repeated throughout their reviews, which focused on him being a scientist/visual artist, his work being more about the process and not the outcome, he is a musician, a symbiosis of sound and image could be seen in his work, there was also a phenomena of self-

organization seen in his work, cultural collaborations were always part of his performances, mathematical processes were paramount in his work, natural sciences are inspirations for his work, the use of Space was a defining aspect in his installations, performances could be seen within his musical renditions, sound was frequently used in his installations with unique movement and patterns and there was always a harmony of space or spatial awareness that accompanied his installations.

These were all taken into account for him as an artist and for us as characteristics to emulate in his work.

Below: Images of the three main areas the group focused on to fully become Carsten Nicolai. High Frequency Music, Mathematical Geometry and Live Performances.

DEVELOPMENTRewind


In order to feel more in tune with Carsten Nicolai and his work, the group tried to emulate three pieces of his work, Wellenwanne, Telefunken and Syn Chron. Wellenwanne consisted of four speakers placed in four corners, below a thin but large in width container full of water. Playing a particular frequency of sound created vibrations in the liquid, which seemed to have a rhythm or harmony in their movement. This installation was about giving sound a visual presence. The waveforms from the sound frequency modulated the particles in the liquid to create a wave pattern or form.

The group recreated this installation by acquiring a speaker capable of producing a strong enough sound

frequency, any liquid and containers to hold the liquid. While it was unclear on the exact frequency used to create the desired effect, a small container of milk was placed on the exposed speaker and the sound used was a copy of Carsten’s aka ‘Alva Noto’ audio track to generate the necessary sound. Unfortunately, after trying all of his tracks, only a few created a slight ripple in the milk. By chance, one of the group members hands touched the audio input head for the speaker and a loud deep sound was produced. This sound effect was used as a replacement and the milk was placed on the speaker again with violent results whereby the milk splashed everywhere. Correcting this problem, the sound

was produced again at a low volume setting and then increased slowly to create the desired effect. This method successfully created a rhythmic waveform pattern that seemed very hypnotic. Upon successful creation of the effect, oil was used in place of the milk but unfortunately the oil was too thick to create a rhythmic waveform. Another element was tested in the form of small metal filings. While not creating a waveform, the filings created a slight crater within the mass of particles.

It was noted that these two elements could be used as an interactive performance for the presentation. With this in mind, two other pieces of Carstens’ work were emulated for the presentation.

Below: Images of the emulated Wellenwanne experiment. Note the position of the container with liquid and the resulting rhythmic waveform produced (2nd row, 2nd image).

DEVELOPMENTWellenwanne Experiment


The next installation emulated from Carsten Nicolai was Telefunken. This consisted of audiovisual interference based on impulse frequencies, which the television could interpret as linear structures. This installation was another way of showing sound using the static white noise we take for granted as a useless visual. Depending on the sound frequency used, more black static lines could appear on screen. Unfortunately the group was working on another experiment during the creation of this piece; therefore only one group member acquired the necessary imagery for the installation. Unfortunately due to the type of television

used for the installation, white noise could not be acquired along with the addition of more black static lines. To acquire these black lines a CD player containing Alva Noto’s CD was connected to the television in order to alter the frequency. While not adding more lines to the screen, the frequency did speed up the movement of the black line seen on the television. Although the visual aspect was not the same as the original Telefunken installation, the frequency could be heard by adjusting the volume of the CD player. While not fully successful, the installation was still used as an interactive piece by adjusting the volume.

Below: Images of the emulated Telefunken experiment. Note the thick black lines, which could be sped up by increasing or decreasing the volume.

DEVELOPMENTTelefunken Experiment


Syn Chron is a large geometric shape made to create a unique structure of light, sound and architecture. The function of the crystal-shaped body is to define the spatial structure of the object. Additionally it serves as an interface for a synchronized play of light and sound. The geometric shape simultaneously is a room for spatial experience, an acoustic resonance body, and a projection surface. When inside the room, the visitor is treated to electronic sounds courtesy of Alva Noto, while programmed laser beams project light patterns that play on the human senses.

While not having the necessary funds or time to construct a large geometric room as an installation for

the presentation, a similar idea was devised using mirrors. Using the video footage of Syn Chron from the inside, the video would be projected onto 3 mirrors in different sections of the room, which would reflect the projection onto the ceiling of the classroom. These angles created by the reflection of light would create a geometric pyramid (3d Triangle) from the projections. This projection would be accompanied by the same sound heard in the Syn Chron room itself. Unfortunately the idea could not be recreated in the flat due to equipment needed from the University; this meant the experiment had to be tested on the day of the presentation.

Below: Images of the original Syn Chron Installation. (Far right) A sketch of the idea used for the Becoming Carsten Nicolai Presentation.

DEVELOPMENTSyn Chron Experiment


The script used for the presentation consisted of all the ideas conceived by the group. Rather than presenting Carstens biography from each group member, we all decided to mention where he was from and focused on the main characteristics of the visual artist. Each group member would be standing by a particular installation as the class would be guided around to each piece of work and the member would have to present the installation along with a demonstration. After each demonstration, someone from the audience would be asked to test the installation and give their input as to what they thought or felt.

Below: Screen capture of the script for the Becoming Carsten Nicolai presentation.

DEVELOPMENTPresentation Map


The presentation was noted as a success with everyone fully interested in the installations. Unfortunately due to time, only a few people could try the interactive pieces. Some minor issues noted were the structure for the classroom, which didn’t consist of a flat ceiling but a diagonal surface. The classroom used for our group presentation was a bit bright and couldn’t be altered because of the angled windows with no drapes or shutters to keep

out the light. In the end the Syn Chron video footage was still used and visible enough for the concept to be realized by viewers. The Telefunken installation was also a success even though there were minor issues with one of the televisions, which was not working at the time. The Wellenwanne installation received the most attention, as everyone wanted to create his or her own waveform.

The only downside to the presentation was that it couldn’t

be recorded by any of the group members since we all had a part in the presentation. There were also equipment issues since there weren’t any cameras available at the media store to photograph the event. It was noted that the presentation could be presented again but due to the deadline, none of the group members had any time to recreate the installations as well as there weren’t any viewers available to attend the presentation.

Below: Images of the three installations emulated for the Becoming Carsten Nicolai presentation. Telefunken, Wellenwanne and Syn Chron.

FINALWe became Carsten Nicolai


In order for us to grasp a better understanding of our chosen practitioners as well as gather some ideas for our personal practice, it was decided for us to create an A3 poster design illustrating what our chosen artist was about and what aspect of their practice we would pursue in our own personal practice.

For Carsten Nicolai, the main characteristics gathered based on previous research consisted of High Frequency Music, Mathematical Geometry and Live Performances. An aspect of his work that was preferred to be taken further was the concept of Wellenwanne, which consisted of sound frequencies modulating particles. In keeping with the interactive concept seen in some of his

installations, research was done on interactive posters as well as posters that illustrated the element of sound.

After spending several hours researching poster designs and interactive posters, it was decided for the final poster design that geometrical shapes should be added in order to relate to Carstens work. The element of sound was added by including a waveform spectrum in a vertical direction with the geometrical shapes assembled around the waveform. Unfortunately since there was no solid idea as to how to make the poster seem interactive, the poster was divided into digital and analog elements. These elements would be combined in order to create a complete design. Rather

than add images inside the geometric shapes, videos of Carstens work relating to him being an artist, scientist and musician were projected into the empty areas of the shapes. The main element of sound, which was decided to pursue was found at the top of the page. The printed aspect of the page consisted of the type, geometric shapes and waveform, while the digital element consisting of Carstens work was projected into the empty sections of the geometric shapes.

On the day of presenting the poster, it was received well in relation to the concept but certain aspects of the design needed tweaking, such as typography and placement of the geometric shapes.

Below: From Left – Inspirational posters used in the conception of a poster design.

Far Right – Final A3 Poster design. Digital and print fused to create one poster.

RESEARCHPersonal Practice - A3 Poster


For the personal practice, the Wellenwanne experiment was quite an interesting concept to take forward, especially after seeing how it was well received during the presentation. The concept behind Wellenwanne was that it touches on areas of particle physics posing the question, how sound frequencies, as a form of energy, are able to modulate particles. To understand this concept better, the definition of sound, frequencies and modulate were researched. Upon clearly defining the terms, the next step in the research was to find alternative ways of visualizing sound waves using other elements. Further inspection of the silhouette Angel image inspired other ways of illustrating this concept by using light and not only liquid. Further research was conducted on devising a method to create the desired effect.

Below: Image of the Wellenwanne installation. The image containing a silhouette of an Angel was photographed at a particular angle where the light and waveform were at the correct conditions to create this form.

RESEARCHPersonal PracticeSound Frequency & Modulated Particles


Upon researching a method to illustrate the concept of sound modulating light particles, a unique piece was discovered called ‘Ondulation’. Ondulation is an installation that experiments with light, water and sound. A large basin full of water sits on top of two powerful speakers, which generate waveforms in the liquid. This may sound similar to Wellenwanne but the difference is that the basin is designed with no borders so when the waves spread out, rather than bouncing off the containers wall, the water flows over the edges. This design creates a unique waveform composition that is reflected by lights in a darkroom. By alternating the frequency of the speakers, several hypnotic waveforms are reflected on to a large screen creating a light show that is

soothing to the eyes rather than blinding. To accompany the light visuals a slight high frequency sound is heard echoing throughout the darkroom.

This installation, while resembling Wellenwanne differs by creating an outcome from reflecting light on the waters surface. As an experiment to understand this unique method, several videos showcasing ‘Ondulation’ were analyzed to figure out how the basin was designed in order to create the unique waveforms. Unfortunately, due to the custom designed basin, there weren’t any other methods that could be devised to recreate the desired effect. As a trial, a container filled with water was placed on a speaker with two LED flashlights directed on the water’s surface

in a darkroom. These lights were focused by wrapping cardboard rolls from toilet paper around the mouth of the light. While the light did reflect off the surface onto the wall, unfortunately, when the audio played, the vibrations obstructed the light being reflected and the reflected light image was distorted to the point where nothing could be seen. It was noted after re-analyzing the video footage that the installation required strong lights that directed a high concentration of light, so even with the water displaced; there should be a reflected waveform. Unfortunately, due to funds this type of light source could not be acquired. Although, this was still a good learning experience, which will be revisited in order to recreate this infinite waveform.

Below: Image of the installation ‘Ondulation’ during a live performance.

RESEARCHPersonal Practice - Thomas McIntosh


Further research into uncovering methods of visualizing sound using other elements, an ongoing theory was discovered known as Cymatics. Cymatics is best described by using sound waves to excite liquids & solids to reveal a unique symmetry through this interaction. In summary this theory was about making sound visible. Upon finding this theory, it was noted that this was the idea behind Wallenwanne and Ondulation. Further research uncovered tests done with small grainy particles such as salt or sugar that could be manipulated into different patterns by altering the

frequency. Other tests done consisted of using water and light in relation to Ondulation but with borders for the container. The resulting images from the tests were other worldly patterns with varied shapes and colors. It was noted from analyzing the images that different colored lights were used to create the unique color patterns.

After researching this theory, several experiments were recreated to grasp a better understanding of how sound frequencies are combined with other elements to make sound visible.

Below: Images of three tests done using the Cymatics theory. The first two images are tests done with salt and sound while the last image to the right was created using light, water and sound.

RESEARCHPersonal Practice - Cymatics Theory


The various experiments emulated using the Cymatics theory consisted of similar elements combined with others that were not tested to create varied outcomes. As an example, for one experiment relating to Wellenwanne, water particles were modulated by the sound frequency. It was devised that using color dye, the trail of the dye would show how the particles moved throughout the liquid. This experiment was done with different colors of dye, then adding them in different areas of the plate to see how long it would take for the colors to mix. Another liquid used was milk, which seemed to create a clearer view for the path of the particles. Color dye was also added to this liquid to see the various results. These experiments illustrated how some particles clumped together would create darker shades of the colors

while other particles spread out getting lighter in saturation. Following on from these experiments, another aspect

tested was the combination of light and sound. Directly placing a light over a black pot of water provided a clear canvas for the patterns to be viewed. Playing the sound frequency with the pot on the speaker resulted in unique patterns relating to the original tests researched. Although specific instruments were used to direct the light, which could not be acquired but the basic idea was grasped from attempting the experiments.

The final experiment consisted of cornstarch. The composition of cornstarch was noted that when adding the correct amount water to the powdered mixture, it would become a thick substance. This substance was different in retrospect that if the mixture was not moving it would appear

as a hardened solid with a smooth surface but when agitated it became a liquid. The experiment used sound the same way as other liquids, but the result turned out to be a living substance trying to escape. The difference was that the mixture had to be placed directly on the speaker, which would render it unusable after awhile. To counteract this a double layer of plastic wrapping paper was used to protect the speaker. After emulating this experiment and analyzing the outcome, it was noted that the apparent living substance could be used as a creature in a short film. Although it took sometime to create a story where the weird composition could be used effectively, it was noted that it had to be a horror or thriller of some type, further research was done on trailers for these specific genres of films.

Below: Images of the various tests done using the Cymatics theory. Some elements used in the tests consisted of color dye, oil, fire, cornstarch, milk and water. These elements were combined to create varied results.

DEVELOPMENTPersonal Practice - Cymatics Tests


While trying to conceive a story that would incorporate the use of a creature. Several horror and thriller films were researched in order to either emulate a similar idea or create a new story that would incorporate a creature. Upon analyzing several trailers for thriller and horror films, it was noted that most effects used to create disturbing scenes or slightly paranoid feelings were the use of camera tricks with minor effects added to heighten the paranoia. As noted in a trailer

for Black Swan, when the main character starts losing her mind, she begins to see things and at one point her eyes become blood shot while pulling what appears to be a feather from her back. This effect was simply done with changing the color of her eyes during post-production with a program and a small prop of a feather. If planned correctly, these subtle additions can add to a scene creating a chaotic and unsettling feeling for viewers.

This idea of subtle effects would be

very helpful considering the equipment used to create any major computer graphics necessary would take long to render the outcome. To create a dark mood or scary atmosphere this meant the use of camera tricks and lighting would be more helpful in the development stage. It was also noted that due to time constraints, rather than creating a short film for an outcome, a trailer could be made instead. The next step was creating the story.

Below: Images of scenes taken from horror and thriller films. It was noted throughout that the trailers all had a build up before they showed the final aspect of the film to draw you in. From left: Pulse, Black Swan and The Unborn.

DEVELOPMENTPersonal Practice - Thriller/Horror Trailers


In order to keep with the overall style of the festival and club concept, light writing appeared to be the perfect choice. The form of light writing was free, loose and related to the idea the festival atmosphere of allowing yourself to be free, sing as loud as you want and behave in any manner you pleased. Although, because of this free nature found in light writing it was noted that writing in light form required practice, a steady hand and a

slightly planned structure in order to create type that would be conceivable by viewers. Drawing a letter required moving your hand in one motion to limit overlapping light trails, thus creating clear letterforms. Instead of drawing one letter at a time during each shot, an entire word was written to quicken the process. Writing long words such as, ‘dripping’ and ‘something‘ proved difficult but to counteract the issue of writing them properly, the exposure

time for the camera was increased to allow longer periods of writing. Some words proved too long and were out of view for the lens. This was dealt with by cutting the words into syllables instead of writing the entire word, example, sometimes was written as ‘some’ then ‘thing’ separately. Different color filters were used to create various colored themes but white seemed to be the more pronounced color in the dark setting.

Below: Images showing three emotional areas the main character of the story would endure before falling into despair. Happiness, Sadness and Stress.

DEVELOPMENTPersonal Practice - Story Idea


In development of the trailer, a storyboard was created in order to gain some perspective as to what camera angles should be used, how the flow of the trailer should develop and how long each scene should appear on screen before moving onto the next. Since the aspects of the trailer were focused on the sections of the story where the main character is coping with the loss and just before he makes a deal with a demon, these scenes were developed for the trailer. As seen in the storyboard, the trailer begins with the protagonist coping with the loss by keeping busy around the house. The trailer would begin with him doing garden work, followed by exercising in another scene, then

relaxing and taking time to himself in order come to grips with reality. Another scene would show the protagonist praying and just before the final scene, he would stand up quickly and throw the bible in the corner of the room. The final scene would show the protagonist from behind with the demonic symbols stuck on the wall. He would slowly raise his head and turn quickly to reveal the creature on his face after summoning the demon. While these were planned ideas for the shoot, it was noted that some scenes may change or be shot differently, therefore everything was shot in one day in order to leave time for editing another day in case any other scenes needed to be added.

Below: Sketches of initial idea for the trailer. Camera position and angles were taken into account as well as location and timing.

DEVELOPMENTPersonal Practice - Storyboards


During the filming process of the trailer, several scenes were shot but placed in a different order to give a creepy effect. It was noted from previously analyzing the trailers, that there was a build up to the initial climax. Some scenes were added in the process showing the protagonist hallucinating and seeing images of his family or shadows throughout the house. During the gardening scene, some props were bought consisting of a small spade and fork to give the scene more realism. Other props were made to help decorate the room with pentagram symbols,

which were usually associated with sealing demons in a particular space or calling other worldly spirits. These were used in the last scene when the demon had been summoned. The last scene proved to be troublesome as the idea of taking the cornstarch video footage and compositing it on the protagonists face did not work. This was due to technical issues removing the image of the substance from the footage to be used as a single image on screen. Several attempts were made by painting the plastic wrapping paper green to create a green screen that would help remove the

background. Unfortunately it didn’t work, as the paint dried the green became darker and lighter in certain areas and could not work as a green screen. This problem was overcome by placing the footage in the pentagram symbols showing the demon had been summoned. Some minor color corrections were done to the video footage to make the bright light appear brighter than usual while the dark areas were also tweaked. Other scenes removed consisted of the part where the protagonist throws the bible and another shot where he is shown running down a long alleyway.

Below: Images of pre-production shooting. During filming of the trailer, several changes occurred with camera angles, lighting and adding new scenes to give the trailer a creepy characteristic.

DEVELOPMENTPersonal Practice - Pre-Visual Shots & Props


After shooting all the necessary footage for the trailer, the editing process began. This process didn’t take as long as was expected since the main idea was still being followed by the storyboard. The trailer begins with the words ‘What would you do?’ asking the viewer a question they would understand by the end of trailer. The next scene is a view of a graveyard symbolizing loss for the character, followed by the protagonist kneeling as he Prays. The trailer proceeds into the next scenes showing the main character gardening, exercising and taking time to himself to continue coping in his daily life. The next question appears ‘where would you go?’, accompanied by

scenes that show the hallucinations the protagonist experiences throughout the house when he starts losing his mind from all the stress.

The final scenes of the trailer ask ‘How could you?’, showing the character in a room facing a wall with pentagram symbols. With the final scene showing the cornstarch footage composited onto the pentagram symbols with the character raising his head and turning. The trailer then cuts to the name of the film ‘Cope’ with the cornstarch footage playing in the center of the letter ‘o’. Which completes the question for the trailer asking what would you do, where would you go and how could you cope with such a loss.

The sound accompanying the trailer consisted of two elements, one with the protagonist slowly reciting the Lord’s Prayer throughout the entire trailer while the other sound used was the sound produced by the speaker when creating the cornstarch creature. To add a creepy vybe to the trailer, the sound was silent at the beginning, then gradually growing louder and louder throughout the trailer to the point where it becomes very loud, almost drowning out the main characters voice. Then just before the protagonist completely turns his head at the end of the trailer the sound stops. Thus, completing the creepy aspect of the trailer.

Below: Images taken from the final product of the COPE Trailer.

FINALPersonal Practice - COPE Trailer

Becoming Carsten Nicolai

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Transcript of Becoming Carsten Nicolai