A Quote by Kurt Ralske

Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer. — © Kurt Ralske
Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.
I was a musician who began playing with computers, to see if they could make some tasks simpler. I developed some "tricks" or strategies for working with audio files, and then discovered that the same tricks could be applied to video files, or really, any type of data. Previously I made many different kinds of music. I did some work as a composer of film scores. In that role, my task was to create audio to match and deepen the visual. In my work now, the role is often reversed: I have to create images to match and deepen the audio.
I am a musician who stopped working with music. Now I work with visual music, or audio-visual music.
At the same time, one of the things I noticed was that the moment there was any kind of audio attached to virtual reality, it really improved the experience, even though the audio didn't feel like a sound engineer or composer had been anywhere near it.
Dance fascinates me, and it is perhaps the most enriching audio-visual realm for a musician. Film-making also fascinates me.
I'm not a visual guy. I'm audio. I'm a musician. I know what I do. I play guitar, and in my category I'm doing O.K.
I think that being a film composer, someone that gets it and actually applies the music, it allows you to open up a spectrum of feeling. You're now allowed to approach the music from an audio visual perspective.
I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.
For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
I can play the guitar, the dulcimer, the piano, and the drums. However, I am not a "performance quality" musician. Rather, I am a composer and a producer.
Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.
Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.
See, I have two selves in me - a musician and a composer.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
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