The Lightning Field

The Lightning Field (1977), by the American sculptor Walter De Maria, is a work of Land Art situated in a remote area of the high desert of western New Mexico. It is comprised of 400 polished stainless-steel poles installed in a grid array measuring one mile by one kilometer.”

Dia Art Foundation

Beyond her Frequency Spectrum

I’ve made a new year album. Last year I made one, so I thought that I should make another one this year.

Happy 2019 to everyone!

November Film (complete)

*WARNING: This film contains flashing images.*

*Some of the frequencies are quite low, so I recommend you to watch the film with headphones, but be careful with the sound volume.*

This film is the result of a 30 days challenge. It was originally published on a daily basis on Twitter—one-minute video per day from November 1 to 30 (2017). The sound was made in Audacity using tone and noise generators. Images are the audio files themselves saved as JPG, so what you see is what you hear.

You can find the original 30 one-minute films at my Twitter account: @null66913

This is not Cinema, 20 de julio en Barcelona

This is not Cinema

Este jueves día 20 de julio en Crater-Lab, This is not Cinema, una sesión con algunas de mis películas experimentales, abstractas o la etiqueta que más os guste ponerle a este tipo de cine.

La entrada cuesta solo 5 euros e incluye una consumición. La sesión dura más o menos una hora, pero seguramente hablaremos un poquito y demás, así que quizá se alargue a hora y media o lo que dé de sí la charla…

Algunas películas son found footage, otras animación abstracta y otras experimentos que podrían entrar en varios géneros distintos. Un poco de psicogeografía, un poco de data bending, un poco de motion graphics y mucho flicker.

¡Os espero!

Turn sound into images, how?: Data bending

Transsubstantiatio

How to turn sound into images? That’s a question that a lot of people ask me when they see my collection of images transsubstantiatio. The answer is really simple: data bending. This is an easy tutorial to turn sound/audio into images/photos.

Data bending is any kind of process that involves turning one type of media into another. In this case, sound/audio into images/photos. Data bending techniques generate glitches, so data bending is part of glitch art. But what I’m going to explain is also an audio visualisation technique, so it’s between glitch and data visualisation.

How to turn sound into images 1: Audacity

Audacity 440Hz sinewave.

First, you need an audio software that saves RAW files. You can use a lot of different softwares, for this tutorial I’ll use Audacity, which is cross-platform and open source, so you can download it for free. Open Audacity and then open or create an audio file: music, noise, a pure tone, whatever… It doesn’t matter.

I’ve generated a 440Hz sinewave (Generate > Tone > Waveform: Sine), but it works with any audio file, so choose whatever you want.

Audacity Export RAW

You have to export this sound as RAW: File > Export audio > Format: Other uncompressed files. Options… Header: RAW (header-less). In Encoding, I choose U-Law or A-Law because I think that the images generated using those encodings are more aesthetically appealing, but maybe you prefer another option. You’ll have to take your time to do some tests because the results are always unpredictable.

Now you have a .raw file. For the next part I use Photoshop, any version. I have tried to use other image editors, some of them work, but not all. Some image editors don’t recognise RAW files saved using Audacity.

How to turn sound into images 2: Photoshop

Photoshop RAW

Open your RAW file in Photoshop. You’ll see this window. Choose the dimensions, the only limitation is the size of the RAW file. If you choose very large numbers, you’ll see this message: Specified image is larger than file. If that’s the case, reduce Width and Height.

Channels Count is the colour information: 1 for black & white images, 3 for colour images. You can check Interleaved or not, usually I prefer to uncheck it because I like it better (just for aesthetic reasons). Click OK and that’s it!

440Hz Tone saved as PNG.

This is my 440Hz sinewave. I choose Width: 1000, Height: 1000, Channels Count: 3, and unchecked Interleaved. If you use other dimensions, even with exactly the same audio file, you’ll get another pattern.

If you use music instead of pure tones, the result will be completely different. Sometimes just noise, sometimes much more interesting. As you can’t predict the outcome, you’ll get a lot of uninteresting images. But, if you keep trying, you’ll get also wonderful visuals from time to time!

Introducción a la música industrial en Canino

«Música industrial, dicen por ahí que eres la más ruidosa y transgresora, la más oscura y grosera, la perturbada que se atrevió a convertir los experimentos de vanguardia más intelectuales en pura provocación gamberra. Pero, dime, ¿de dónde vienes y quién eres realmente?».

He escrito una pequeña introducción a la música industrial, la podéis encontrar en Canino.

iotaSalon, LA (03/23/2017): The Best of Punto y Raya Festival

RGB Colour Model at iotaSalon, LA.

One of my flicker animation pieces (RGB Colour Model) will be screened next week in LA as part of “The Best of Punto y Raya” program. Lots of great stuff, if you’re in LA, don’t miss it! Thursday, March 23, 8PM.

“We are excited to announce the next installment of our ongoing iotaSalon series, a selection of beautiful and provocative works from the Punto y Raya Festival 2016 to screen at the Echo Park Film Center on Thursday, March 23. Punto y Raya has been dubbed ‘the most abstract film festival in the world’ by the Japanese press. Based in Barcelona, Spain, the festival criss-crosses the globe with each year’s award-winning films, representing the best of contemporary abstract film. The 85-minute Best-Of program showcases experimental narrative expressions using pure form, color, motion, and sound, avoiding direct representation and bringing people together with imagery that is current, universal and timeless.”

More information

The Best Button Badge Designs of 2016

Button Badge Design by Blanca Rego

One of my data bending/glitch/sound illustrations/designs has been featured in an article published in the Digital Arts magazine website. “The Best Button Badge Designs of 2016 now available as prints”.

I found this by chance, and it’s a bit funny because I spent a lot of years translating articles for the Spanish version of that magazine. Anyway, my design is not available as print, but if you like it you can buy the button badge.

Símbols franquistes a Tortosa i altres desusos

Núvol ha publicat una bonica crònica del Embarrat i també unes paraules boniques sobre la meva acció/vídeo:

«Blanca Rego (Ferrol) va realitzar una de les accions més interessants i directament vinculades a la inutilitat i el desús. La gran màquina I és la realització d’una curosa recerca per Internet de les bases escrites de la primera edició (2014) del festival Embarrat (que no estaven ja penjades al propi web del festival). D’alguna manera, l’autora posava de manifest la obsolescència mateixa de la creació contemporània, les convocatòries, els premis, els festivals o els propis artistes i les seves obres. Un cop trobades les bases en un document PDF, l’autora inicia una cadena de transcodificacions: de PDF converteix el document a audio, el divideix en fragments i el converteix en arxiu de fotogrames, aconseguint un resultat aleatori i imprevisible. El resultat final és un vídeo HD en bucle de menys de 4 minuts esdevingut artefacte inútil, obsolet i inintel·ligible. Una absurditat amb ple sentit interpretatiu».

«Símbols franquistes a Tortosa i altres desusos», Oriol Martí Sambola.

CRANC #01 [viernes 27 de mayo, Barcelona]

Cranc

Cranc es un nuevo proyecto de proyecciones de cine y video experimental, con debates posteriores, que se organiza una vez al mes en las instalaciones de la imprenta L’Automàtica situada en el barrio de Gracia de Barcelona.

El viernes 27 de mayo se inaugura esta iniciativa con la presentación de la primera edición de la editorial Angular (un libro y un DVD cuya caja se ha producido en la misma imprenta) y una muestra de trabajos de la realizadora Blanca Rego (cuya pieza Engram (optical sound #001) es una de las que forma parte de la compilación de Angular). Esta primera sesión, dividida en dos partes diferenciadas, propone un diálogo estético y semántico entre trabajos que investigan las posibilidades cinemáticas y acústicas tanto de las herramientas fílmicas como de los dispositivos digitales.

Viernes 27 de mayo a las 20h
5€ con consumición
L’Automàtica
C/ de la Legalitat, 18.
M L4 Joanic, L3 Fontana

1º parte:​ Angular

Remote (2011) Jesse McLean​. Video. 11 min
Tokyo-Ebisu (2010) Tomonari Nishikawa. 16 mm/ Video. 5 min
Wingdings Love Letter / Places With Meaning (2012 – 2013) Sc​o​tt Fitzpatrick​. 16 mm/ Video. 5 min.

​2º parte: Blanca Rego

Engram (optical sound #001) (2013) Video. 2 min.
You must be complex to want simplicity (2014) Video. 1 min.
Due to Violent Content, and Flashing Lights with Strobe Effects, Viewer Discretion Advised (2015) Video. 1 min.
Nonobjective Cinema (2015) Video. 2 min.
Computer Music Studies: Untitled (2015) Video. 2 min.
Rainbow Britte (2012) Video. 7 min.​
Time-Space Compression​ (2015) Video. 2 min.​
Psycho 60/98 (2016) Video. 6 min.​​

framework:seasonal ::: issue #8, now available!

framework

There’s a new framework:seasonal series with one of my rain recordings.

“The framework:seasonal series of fund-raising audio releases continues with issue #8, another superb compilation of previously unreleased sounds by artists working in the field recording community. this selection features new names as well as several you’ve certainly heard before, all of whom are new to framework editions‘ release series. blanca rego, christopher delauranti, christina kubisch, stephanie spray, darius ciuta, cathy lane, julia hanadi al abed & lou mah al abed ratier, martin kay, magali babin and rodolphe alexis.”

More information at framework radio

Psycho 60/98

WARNING: This film contains flashing images.

“Psycho” (1960) by Alfred Hitchcock and “Psycho” (1998) by Gus Van Sant collide in a frame-by-frame editing that assaults the eyeballs and assassinates the normative consciousness of the viewer. The footage seem to penetrate us, as though it was a knife or a threatening phantasmagorical entity. The fast succession of single frames and extremely short audio files produce afterimages and aftersounds—entoptic and endaural phenomena—creating a film that does not happen on the screen, but in our brain cells.

*Just a technical note for those interested on how things are made, this film consist just of both shower scenes fragmented in frames; the odd frames are the shower scene from the Hitchcock movie and the even frames are the shower scene from the Van Sant remake. No image or sound effects of any kind, just the frames. Sense-destructive cinema, enjoy! :)