Page 54 - Studio International - April 1967

Light/Sound produced short discontinuous image sequences High-power projection
and was manually operated. The problems of
technique
Workshop longer sequences and repeatable performance had The basis of the projection technique is that
yet to be satisfactorily solved. Nevertheless with
colour and pattern are programmed around the
three projectors and three operators projection per-
Hornsey College of Art's Light/Sound formances of 30 minutes were shown on a screen perimeter of circular glass discs. The discs rotate
Workshop is participating in the K4- 12 ft square together with electronic sound. between the light source and lens system of the
kinetic audio visual environments-at The development of automatic projectors has projectors. The patterns are rarely projected as
the Brighton Festival April 14-30 transformed our situation. The problems of con- they stand but are modified by a range of optical
devices which are generally placed between the
tinuous sequence and repeatable performance are
projection material and the lens system. Most of
largely solved. The development of control systems
has increased the range of image types. The num- these devices are built up from a number of
ber of elements which can now be introduced into perspex elements in the form of flat strip, circular
Clive Latimer, Michael Leonard, or rectangular rods. Some of the elements are
the projection, the use of groups of linked 1 kW,
John Bowstead, Dick Woods 2 kW and 5 kW projectors with automatic control machined to create distorting lenses. The pro-
jected image often bears little resemblance to the
of light levels and speeds, further extends the
scope of projection performances. source material, and the skill in programming lies
LIGHT/SOUND WORKSHOP was started with the Con- Resources for experiments with audio techniques in knowing exactly how patterns are transformed
viction that one of the next developments in the by the optical devices, for the patterns on the discs
have been restricted until quite recently. We now
arts would be in media techniques. These would be may become fragmented and then be reassembled
have an audio system of thirty loudspeakers inte-
based upon a sophisticated technology comparable in new combinations on the actual image; geo-
grated with a 50-ft diameter half-circular pro-
to that of film and television. Within the context of jection screen. A series of control consoles enables metric shapes may become more complex or even
the Advanced Studies Group at Hornsey College selection and grouping of sound sources from two completely irregular; clearly defined shapes may
of Art, LIGHT/SOUND WORKSHOP has developed audio channels. Tape recorders to synchronize all become more diffuse and fluid. An important aim
into an open situation. In this, optical, mechanical in the development of the optical devices has been
control instructions with the sound track are part
and electronic systems are considered in relation to transform the simple rotary action of the discs
of the system. The equipment is of professional
to kinetic, audio-visual and environmental con- standard providing for collaboration with elec- into more varied kinds of image movement.
cepts. tronic composers from outside the college. Our present machines can take four programme
At the present stage of development the tech- More detailed description of techniques follow discs, and a choice of optical effects can be made.
niques developed are not new in a fundamental in the contributions of other members of the group. Light intensity and speed are controlled electroni-
sense. This would be beyond our resources. The cally. The patterns which can be generated are
Clive Latimer
systems of optical projection we have evolved are virtually infinite, for the design allows a great
based upon progressively more extensive modifica- permutation of the factors of pattern, colour, focus
tion of existing apparatus; the use of multiple and optical effects. We forsee the use of projected
projection units of several types simultaneously; Media Systems and the light techniques in a variety of new situations, and
their application to new or under-exploited areas future have already designed work for colour television,
of design. exhibitions and ballet.
What interested us particularly in an audio- Unit 2 is a recent addition to LIGHT/SOUND WORK- The creation of sequences of sound and image is a
visual technique was its potentialities for creating SHOP and in general is engaged in the same area complex problem and one for which there is little
environments on a very large scale. The concept of of activity, that is, the systematic exploration and precedent. Variations in speed may be such that
performance in large-scale situations is restricted extension of media possibilities. Design Unit 2 images move so fast as to become a flicker or they
by established conventions and the physical struc- will, however, concentrate on producing media may slow down and hang momentarily suspended
ture of theatre and auditoria themselves. For these systems relating directly to the social and physical as static images. At this point the language of
reasons the physical nature of the environment in situation being dealt with at the time. composition is the static one of the painter, but
which the media techniques are used becomes part It seems certain that the electronic world of the immediately shapes begin to move we are faced
of the design problem. near future will make available a vast load of with the problems of dynamic composition. Ulti-
The approach we have adopted requires a multi- instantly accessible information which will soon mately we hope to control the movement of forms
disciplinary group and this is progressively being become an unusable overload if present communi- with the precision and range that a modern choreo-
built up. The LIGHT/SOUND WORKSHOP group in- cation media are not extended and new systems grapher exercises over his dancers.
cludes an industrial designer, two architects, two not evolved. The instant nature of information Our early projections on to a single screen were
painters, a technician and a consultant electronic retrieval brought about by electronic technology more concerned with pattern; however, with our
expert. The whole activity provides a teaching means that at any given point in time we will be 360 degree projection and ultimately with hemi-
situation for Diploma and Post-Diploma students faced with the problem of dealing with a mass of spherical projection an overall environment can be
with the direct participation of their teaching staff. potentially usable information. This situation created. We now think more in terms of light imply-
We are conscious that, particularly within the necessitates the development of output systems ing space and then destroying it. Sound can also
last few years, there has been in Europe and the designed to utilize fully the wide variety of possi- be programmed to move, and it may follow the
United States a growing development in kinetic bilities and facility for choice inherent in it. (This image or may move in counterpoint to it. We
and environmental techniques. Progress in this would be achieved by formal organization both of anticipate that the combined effect of sound and
country seems overdue. We hope that the feature the interval inbetween informational bits and of image moving in space will be a new and exciting
K4 at Brighton Festival (April 14-30) will be an their juxtaposition.) It is the role of Design Unit 2 experience to our audiences We now have avail-
opportunity not only to show the work of inter- to make at least a gesture toward remedying this able the services of Unit Delta Plus, who can pro-
national kinetic artists to a wider audience but to situation by working toward the exploration and vide fully-professional electronic music.
demonstrate media techniques and environments extension of media possibilities, a role which un- It is a misconception to think of sound as a mere
which show potentialities for the future. happily, in spite of the urgency of the situation, the accompaniment to the light projection. There are
The work of LIGHT/SOUND WORKSHOP commenced vast majority of artists and art schools have chosen compatible elements of form, texture and rhythm
in 1962 with a single 1 kW. projector. This pro- to ignore or reject, preferring to remain within the common to both music and the image, and it is our
vided a basis for developing a system of image confines of Renaissance media classification. aim to unite these into a single form. Emphasis may
sequence and light modulation. The first system John Bowstead alternate between music and image, and forms and
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