What is the relationship between color, sound, and movement? Artist Jaime Derringer continues to explore this question in her collection Chromesthesia: Ascend. In this body of work, Derringer investigates the phenomenon of experiencing colors in response to certain sounds or other stimuli.<br><br>Derringer begins with her personal archive of works, both those created on paper and digital paintings. Over the years, Derringer has repeatedly digitally manipulated and distorted these original images using a combination of computer software and AI. Each successive collection or group of works cannibalizes what came before it and is reborn in the wreckage.<br><br>For Chromesthesia: Ascend, she relinquished that control to a complex algorithm that mirrors the rhythm of her hands guiding the MIDI controller, destroying the works over and over again to form a type of abstract brutalist composition. 

Chromesthesia: Ascend

What is the relationship between color, sound, and movement? Artist Jaime Derringer continues to explore this question in her collection Chromesthesia: Ascend. In this body of work, Derringer investigates the phenomenon of experiencing colors in response to certain sounds or other stimuli. She employs vibrant and contrasting hues to create a sense of movement, energy, and emotion.\n\nDerringer begins with her personal archive of works, both those created on paper and digital paintings. Over the years, Derringer has repeatedly digitally manipulated and distorted these original images using a combination of phone applications, computer software, and AI. Each successive collection or group of works cannibalizes what came before it and is reborn in the wreckage. The final piece is further deconstructed and ultimately reconstructed with a MIDI controller, a device typically used to control or play music, as Derringer turns each knob of the device to distort a section or characteristic of the image. Through this iterative process, she creates a sense of depth and movement within her pieces, as well as a sense of history and evolution.\n\nFor Chromesthesia: Ascend, she relinquished that control to a complex algorithm that mirrors the rhythm of her hands guiding the MIDI controller, destroying the works over and over again to form a type of abstract brutalist composition.\n\nEach time the algorithm is run, a new composition is born. The algorithm keeps time and acts like a beat, periodically altering parameters and taking rhythmic snapshots as the composition unfolds. Each piece is composed of a mix of visual parameters of varying rarity which all have a relationship to music and which Derringer names timbre, duration, frequency, and rhythm.

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In Interference, Phaust foregrounds two scientific discoveries in a search for purity of generative systemsan 18th century German physicist and a 20th century Japanese electronics corporation.

Investigating acoustics, Ernst Chladni took a violin bow and drew it against a metal plate lightly covered with sand. When the plate reached resonance the sand would settle on particular nodal linesleaving what is known as Chladni patterns. These proved to be important in fields as diverse as acoustics and instrument design to wave theory and quantum mechanics.

Chladni patterns vary according to a range of factors and can be described with some pleasingly simple equations. Those equations lie at the heart of this collection and perhaps show generative art at its purest: a set of simple equations which give rise to near infinite variation.

Phaust drew upon a 1980 invention by the Riso Kagaku Corporation to bring these forms to lifea machine that looks like a photocopier but works like a screen printer. The Risograph uses stencils and vibrant semi-transparent spot color inks to print a single layer of color at a time, producing prints that are vivid, textured and unique thanks to subtle imperfections in the printing process.

Interference embraces the quirks of Risograph printing, adopting the semi-transparent colors of Riso inks and exaggerating the mis-alignment found on Risograph prints. Instead of plotting solid bands of color, the collection mimics the texture of Risograph prints through over half a million distinct tiles, each subtly varied in shape and color. This treatment suggests mosaics when viewed up close and harkens back 200 years to sand particles settling along nodal lines on Chladni's plates.

Unlike earlier collections such as Pointilla, where the artists had to define much of the forms through code, this is fundamentally a handful of mathematical functions and transformations that create a dramatic variation of composition. Phaust chooses to break the faithful presentation of a physical phenomenon by deviating from standard Chladni patterns  introducing polar coordinates that create a pinching effect to otherwise more rounded forms and an additional distortion that occasionally disturbs these flows. These interventions remind the viewer that this is an unreal depiction, algorithmically generated.

This mathematical and conceptual simplicity speaks directly to the beauty of generative systems. By foregrounding a familiar physical phenomenon, the vibration of sound, Phaust elevates the unique beauty of generative art.

Interference by Phaust

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