Visual: Correspondence

The Correspondence project came about through the desire of two artists to create a collaborative work between their respective artistic practices; music and video. The intention is that by combining their individual knowledge and points of reference, each artist can enrich the work of the other.
The principle of the exchange is the same as the old parlor game, ‘consequences’: a video produced by one of the artists is completed by sound created by the other. This initial exchange invites a reply, creating a chain of correspondence between the two artists. Often abstract or experimental, the videos of the series could be narratives. They often reflect the feeling of the moment. To begin with, the artists sent each other files burnt to disks through the post, now, thanks to faster broadband speeds, the exchange has become electronic. Over the course of time, Correspondence has become an experimental laboratory, its purpose; the exploration of the relationship between sound and image.
In 2016, I was part of the the fourth session of Correspondence. This time it involved artists from Austin, Texas and Angers, France.
Correspondence  #27 video: Anthony Palomba    music: Vincent Fribault
In this correspondence, I focused on the video side of the collaboration. Vincent sent me the audio and I came up with a visual interpretation to go along with it. I explored the use of contemplative nature based video shots, juxtaposed with composited generative form.

Correspondence  #52 video: Anthony Palomba    music: Gerome Godet
This time I came up with the video part of the correspondence.  Another meditation, this one on the transformation of the sky combined with form evoking symbolic language and communication. Gerome received my correspondence and paired with an audio creation of his own.

Visual: Lac St-Anne

Lac St-Anne was a collaboration done with film maker Richard Cornelisse, shown at Concordia University of Montreal, Faculty of Fine Art. It is an interactive, multi-screen, non-linear audio/video documentary that depicts an experiential portrait of Lac St. Anne located in northern Alberta, Canada. The work depicts the geography, history and people of this region as historical residues. Their narrative exists as largely indirect and fluid, but attempts to illustrate psychological traces of the land, the personal relationship within it, and the sense of mystery that contains it. The intertwining of histories and happenings are meant to appeal to the senses in a manner that speaks to our emotional connections to place, the paradoxes that define it and the possible transcendent realities within it.
The programming for the installation was done in Max. It consisted of a database of interchangeable audio and video clips that can be experienced in a variety of ways. The viewer initially ‘wakes’ the system by stepping in front of a screen. An infrared sensor processes the viewers movements. The viewer is then presented with a video haiku of sorts. A realtime construction of audio and video clips that tell the story of Lac St.Anne. The narrative unfolds through randomized video and audio clips, a montage of audio to video or video-to-video clips in constant reconfiguration. The structure is always participatory, fluid, unique and, to some degree, individualized. Max was also used to track the viewers position and convert that to control data, which altered various aspects of the video and audio narrative. 

Visual: The many facets of visual arts


Computational Arts explores many facets of the visual arts. It seeks to explore relationships between various visual elements within generative design, video processing, and data visualization. By exploring compositions of these visual elements, we seek to not only challenge traditional narratives but also perceptions ourselves. The story of our lives are a multitude of threads that form the tapestry that is humanity. It is an infinite data set that when visualized, illuminates the connectedness of the universe.