Master's work, 2013

In my masters' work I deal with the nature of color. The work is based on the principles of imagemaking in information technology and conventional print. Its sequent possibilities are analyzed through three different mediators with different features: on digital screen, through water and in print.

Noise and silence
The generator of the process is noise and the absence of noise - silence. Noise is not the output or the product of the installation, but the activator which drives the movement of colors / images.

Technology — process — construction
1

The first out of the three above mentioned medium is digital screen. The principle of the software visualization of the three ultimate digital colors (RGB - red, green, blue) is the following: the saturation of each color is defined between 0 and 255. The additive blending of the color-values results the whole spectrum on the screen including the scale of greys - where the value of R, G and B is always the same. White is the maximum, black is the minimum saturation of the grey scale. The mechanism is the following: the phenomena on the screen is generated by environmental noises, which are perceived by a built-in microphone forwarding them to the software that creates images out of noises. Low frequency noises direct R (red) lines', middle frequency noises drive the G (green) lines', and high frequency noises direct the B (blue) lines' location, saturation and the dynamic in the movements. By the decrease of the noise level the extent of the structures' movement out of their basic state decreases as well. In the case of silence, the line structures cover each other and produce white color. The image on the screen is being evolved out of the movements of the red, green and blue line structures. During this movement, the colors cover each other in different extent, which results in continuous variation of lines and colors.

2
The image - generated out of noises by the software - is projected through water and reflected onto the wall by a mirror. Water is a natural medium that act as a prism. In certain circumstances (the light's angle of incidence is 42 degrees) white light passing through water drops splits into the spectrum of colors. This is rainbow effect. Prism effect is the opposite of digital color blending, where white is not the outcome, but the source. The installation is a transcription machine, which converts an analogous medium (noise) into a digital medium (light/image). The digital image is then converted into an analogous image by being projected through water.

3
The third element of the project is another analogue medium: a book, in which the digital images of the installation are transcribed to paper. Therethrough the additive blending of colors results black as an end result of the process of white light becoming darkness. The book's index illustrates the relation between the images and the R, G, B colors that create them, and the noises that generate the colors. The book can also be interpreted as the visualization of In a Landscape by John Cage, which is constructed out of screenshots saved in each 10th second by the software. The image sequences are interrupted by such texts which are in relation with the basic concepts of the project. The book is in the lack of any kind of textual explanation. By the complex of the additive colors and texts the reader is capable to comprehend the book as a whole. There is a register in the book that connects the image sequences and their analytic explanation, and indicates the continuum of the composition at the same time.

The project is a layered multimedia package, in which such interrelations are registered, which highlight the technological nature of art . At the same time they are reflections on contemporary relations in regards of modernity and tradition. The technological progress is a self-amplifying process creating rapid an shrill milieu. As an indirect effect and its inevitable counterpoint - silence, slowliness and the need of spiritual focus come into existence.

Silence and light — absence and presence
Light and silence are two elementary and antinomic phenomena of the surrounding world. Their existence can only be perceived indirectly. Hereby silence is comprehended as the absence of noise, and light (white color) as the opposition of darkness (black color). Light can only be seen when something reflects it. If no refraction occurs, light remains invisible in darkness. My masters' work is the parallel study of the paradoxical nature of the two phenomena (light and silence), in which silence and white color are treated as the resting points.
The lack justifies the existence of the missing entity. Something can be absent only if exists, eventhough not present. Therefore the absence means maximum presence, in a sense. In the cases of white light and black print, the absence of colors is the utmost presence of their maximum saturation. Concerning a scale of sounds, silence is the lack of noise.

Black, whithe and the spectrum
The visual termini of the project are black and white. The spectrum of all colors spreads between these extremities. While in nonmaterial digital imagemaking (based on the principle of wave-length) the overlap of the maximum saturation of three basic colors (Red, Green, Blue) ends in white, the material print colors produce black.

Concept & design: Anna Bárdy
Big thanks to:
József Tasnádi — concept & code
Dániel Eke — object
Éva Szombat, Luca Hartai — photograpy
Péter Ráday — video


Graduation project, MOME
Year: 2013






elements of silencefrom Anna Bárdy on Vimeo.

© 2018 Anna Bárdy
Graphic design & art direction