for Visual Music Artists, Writers, and Venues
FOR A GENERAL THEORY OF GRAPHISME:INTEGRAPHY
PSYCHO SOUND GRAPHIC PRESENTATION
- An introduction to Sono-Visual activity.
-The vision through sound. Meta process
II-PRACTICAL APPLICATION-META FORMATION
Inter-Modal-Meta accession process to the basic skills of inter-modality.
Meta reality is formed by sound elements, graphic elements and movement which we will call meta sound, meta graphic, and meta movement.
I- Scope meta sonorous:
It refers to the time in which acoustic material is susceptible to the translation or interpretation in accordance with determined criteria on its consistency in terms of functional interrelation and inter structural interaction that involve the emergence of new forms of activity and experience.
The possibility of a motivational axiology character leads to an enrichment of resources for inter-modal activity and as a consequence of this enrichment, the convenience is to precise the characteristics of inter process in terms of meta abilities.
In this manner a non-stereotyped meta auto interactive model is produced, where sound material is a constituent part of the basic units formed by the composite components for the load: audio-graphic-motor.
Among its attributes and interactions we will find the assignation of values in the process of meta communication, relation, formation, expression and knowledge or even better in reverse, because the experience is not possible with the transfer of the experience, or it without an adhoc support, specifically development for this new floor: S-G-M (Sound- Graphics- Movement).
This raises the question to clarify the repertoire of the factors and characteristic effects of the inter sensorial integration work, that lead to the meta content as concrete manifestation, explicable, describable and determinable.
As a result the categorical definitions of tone and musical patterns pass to have some implications and applications to respective pre-textual and post-textual nature.
II-Scope meta graphic:
In this case colors and their magnitude of support and use in the field of auto interactivity have a potential to develop as they put into consideration their role as inter mediators and an assembly between sound and the movements.
III-Scope meta movement:
The role of the repertoire of actions in the presentation and performance that involves auto interactivity is evident.
When interactivity is proposed in the intrinsic environment, its not talking about of what each one can see, hear or of the follow up the routes that rise to S-G-M (Sound-Graphics-Movement), but the materialization of its sense with means to an end of inter acting that opens meta biology and meta ecology.
So neither do we refer to a theory of movement interior or exterior, but to a new floor on adhoc meta gestural dynamics. This is perhaps the question pending in order to get more practicality on the meta process.
It’s about the stimulation through sequences of structured sound. These sequences are previously conceived to promote concentration, stability, consistency, accuracy and productivity. Therefore this experience becomes an activity that allows the production of simultaneous graphic schemes to audition.
When we talk about the results of psycho-sonographic experience we refer to a psycho-sonogram.
- Synesthesia. SENSE and Integration of the senses.
- Inter-sensory stimulation.
Since in any of the cases it is Cartesian coordinates, as it is obvious the concepts of time, space and emotion are trio dialectical categories susceptible to an integral optimization that facilitate tune and conciliation with the principles of meta reality.
There exists a psychophysical and cultural background. Now transformed by the benefits of technology, which provide benefits in the management and understanding of its results in order to inter transmit new knowledge. However, no proportional progress has been made in correspondence to the framework actions established at the behavioral level in the production process of new materials S-G-M (Sound-Graphics-Movement), so only the set of conformations detailed here can generate favorable conditions for Inter-modal vision.
Finally, the results of the inter stimulation in a meta contextual environment at the backbone level with the plane of new motivations, suggest the possible existence and appearance of a new repertoire of general schemes of activity.
The impact of meta graphics both static and animated, does not frequently favor its interpretation or translation in precise terms.
They often lack detailed references about their own composition as its load is not determined in function to remissible patterns for referral to any functional operation in correspondence to a repertoire of patterns of manifestation consequential or consistent, not even defined, explained and esplanable, therefore they have great difficulty adjusting to their productive discrimination.
The sound stimuli, graphics and animations are frequently understood separately and not as complete agglomerates of a unique meta process.
Assumptions and scenarios where the intermodal materials are presented and treated in an integrated manner the need arises to a new mode of inter process, when reading thereof.
It should be remembered that all “meta visual” scenes are difficult to set and give sense. A huge quantity of information that continually passes through our meta perceptive screen apparently can’t be “encoded”.
Without including the potential contraindications for this methodological failure, these considerations don’t even touch the rules of creation process composition, or the reconstruction of the process of recreation. But the internal functional structure, their interrelations and characteristics of inter modal charged units and its parameters (that affect the nature of complete agglomerates, made of sound, graphics and movement) are formed by attributes, magnitudes and values although flexible, they are recognizable through their instrumental and operational roles.
The results could be suitable and it is possible to submit them to higher rigor, for their treatment and comprehension, clearly allowing the allocation of its role in the exercise of auto inter activity and their appropriate productive solution.
Even if initially it seems as thick considerations, however it is about respecting the importance of getting a presentation of the inter stimulation process so that the material manifestation although diversified, it offers a more susceptible approach in order to anchor or fix their true inter functional nature in the process of inter-sensorial integration and as a consequence facilitate the appropriate management and get better quality when consumed.
In the case of degrees or levels of the different attributes or magnitudes or assigned values to each parameter or factor. With five grades or levels it would be sufficient for the correct translation or interpretation based on diversity or selective contrast or appreciative) in the end integral inter-discriminative.
Likewise the matrix 5 by 5 perfectly corresponds with the organization of axiology interpraxia. See Criterion-PHASES. (See:The keys to Psychosonography).
Using the sequences of sound materials understood as complex stimuli once organized follow up a systematic criteria in the process of application. The objective of its effects is to search for new references that work for the constitution of general schemes of efficient activity in no-stereotypical tasks through graphic expression.
It must distinguish stimulus materials (sounds and images) with a degree of complexity below the upper limit that pose the intermodal operation.
Nature of Intermodal activity:
The experience consists of venturing out and performing an experimental path through empty space in which the mission is to encode the unknown.
The sound sequences conducive the concentration and provide an accompaniment that eradicates the irrationality and imposes its rule of evidence that points towards a resolution of the simultaneous automation with heterogeneous forms and different supports (Sound and graphic).
It is not easy to get a standpoint or position on spontaneous graphic automatism and its result.
Neither does the exposition of the arguments prepare the detailed explanation of a repertoire of activities that meet the multitude of different magnitudes and differences from the usual and stereotyped.
We must avoid the sense of repetition, because it is a discrete system with determination of the phases or functions that suppose the Intermodal process. It must produce the impression of an endless continuum and surprising. It cannot depend on the richness of the derivative records from sound experience or the level of acquired knowledge assimilated in visual education.
The “trasladation” of schemes like smell, or taste and the inability of assumption of the functioning of a complex level and the continuous need for dosing and gradation higher than usual can interfere normal development of positive action, the same as the associative emotional component.
The focus parts from a general theoretical conception according to which the presentation is favored with sound stimulation. Thus, the graph shows a progressive level in the production quality both in the sensory-perceptual and cognitive planes.
This is produced by the increasing perception such as linear process of assimilation of the subjective experience, through contact with reality.
It is based in the facilitation of knowledge through indications that guarantee understanding of the relationship between audio-visual stimulation and its bearing, that allow the production a new patterns of activity by evaluating the results of process of assimilation of the emotional effects of sound sequences.
This is propitious by the application of references resulting from the creation of new patterns of expression at the motor, which in turn are taken by the translation of a more structured experience in the field space-time and emotion.
The internal movement, (or Global Performance) favors the sound processing, constituting the schemes. It is the representation of the psychological interactive TRAIL in function with executed dimensions, in terms of instrumental writing.
The integrated result is the scheme, which favors the constitution on the motor plane of the new expressive possibilities that can be applied, first, to the new generation of new sequences, second, to explore new possibilities in the field of graphic expression.
The consequences, in this case, are particularly suitable as means of stimulation in respect to the need to satisfy the superior motivations, as this is an enjoyable, happy, progressive and open process.
The process is concluded in:
A- The generation of new content:
Graphic material and structural schemes like symptoms to the effects of stimulation.
B- Objectification of the Process. Systematization. Evaluation:
It is the way of pretextual consistency. From where they extract and squeeze from the repertoire of new contributions.
As is the analysis of the structures used to construct sound sequences and the process of understanding and consequently the representation of the effects of sound stimuli on different dimensions of human behavior. New references have a positive relation as a function and the resulting increase of quality in the conception and execution in the work of graphic expression. This facilitates the contextualization and the articulation of an absolute mark in achieving the meta productivity.
The sense is to facilitate the knowledge of the content and reflect the relations between the representation and interpretation, resulting in augmentative and clarifying consequences (what we call evidence) of the real world. The graphics produced and presented therefore become an example exposed here.
Its parts from an empty state o nothingness and its reaches a level or grade of elucidation through continuity solution.
It consists on the presentation of inter-modal stimulation in favorable conditions to develop new types of activity and experience.
The dynamic consists is the emergence and /or appearance of an element or various elements that substitute each other or that develop a simultaneous actions.
They belong to the same color or several different, in order to create a sense of depth, movement, etc.
According to the positions and dispositions of the elements when they appear and disappear from the plane we introduce the idea of direction.
The pace of editing, the script that follow the elements complete or samples, and the support of potential activity, facilitate the access of new manifestations of reality, to their application and a better comprehension (including the emergence of new motivational records).
We can say that the consolidation of new schemes of useful action for assimilating experiences and the management assertive terms.
It is about, the transmission of the benefits of connection in the meta process.
It’s about the graphic record that is produced from sound variations.
Using as a pretext the systematic presentation of original sound sequences and slides or images of graphic schemes all unedited, it pretends to stimulate the development of related abilities with the quality of the productive process sound expression and graphic matter.
Sound does not exist in its purest state, nor the conventional idea of it because the sound produced through the synthesizer is only a starting point or again an arbitrary definition, with the pretension of absolute objectivity.
What suggests that either the color presented in its ideal form or devoid of alterations, preventing the establishment of theoretical characteristics or early metatypical order.
The resulting criterion of the elaboration of sound metarials is informed in the experience of graph-driving expression, which leads to precise that either ideal form or destitute alterations make it impossible to establish the theoretical characteristics or principles that could work as a guide or a reference for evaluation.
The introduction of a combination or mixture of basic magnitudes in both cases in order to facilitate the correspondent “Notation”, is logically impossible, since what makes the sound stimulation discourse stand and its consequences or contributions to the plane of graphic experience is precisely the level of evolution reached in the elaboration of intermodal, (Sonography) and its results.
The supra object is the meta support and raises new types of activities and procedures that touch on both theoretical and practical questions.
Reporting the actions of structuring and acceleration through intrinsic references constitutes and introduces the meta reality and its solubility.
Resolving at a certain time, both the qualification turn and the personal auto-synthesis.
Paradigm of intermodal acculturation.
It seeks to find sufficient explanations that support a clarification of reality that remain as an integration of relations of integrated character, with independence of the variations in a pseudo invariable plane, as in the case of physical, mechanical, electronic, informatics and virtual phenomena.
A consistent procedural discourse, that includes distinct phases of endowed significance, entity, sense, character or the importance in the global order.
It is neither the scope of the rules or laws, but an interaction of metarial actions understood as the confluence of complete and diverse natural stimuli that develop in evident productive activity, interrelation and generative.
It about evaluating procedures of complex stimuli and the monitoring of superior processes of management of general schemes of effective action in non-stereotypical surroundings. Intermodal Ecology, as a concept that goes beyond the consistency of various magnitudes or acting dimensions.
The description that follows the exploration of the interaction psychomotor in contact with an acoustic or sound surrounding and its transcription to the graphic representation to the emergence of Intermodal hipergraphy which is omnipresent, as meta support, medium, vehicle or transportation and the simultaneous encoding inter-graph-sonic. Of which is of particular interest in their approach to a very developed hypergraph perspective.
In any case, thick forms are necessarily produced from the representation of geographical character as a result from the interpretation or translation of experience of the expressive integration motor-verbal-writing-sound-graphic-idea, pose an overcoming of forms of action both superficial and elementary.
II-PRACTICAL APPLICATION-META FORMATION.
Application perspective in the occupational, industrial and commercial plane
The teaching is based on the application of logic to the facilitating of learning. This teaching is based on grounded meta-didactic on a logic processes that focus on inter functional relations between parameters and meta real units. These units are generated in a meta process that involves unification or integration at the level of experience of the propitious meta real results by the exercise of meta abilities.
The meta sessions are not subjective nor objective, neither real nor ideal, not emotions nor sensorial, not rational nor creative. But simply, activities in non-stereotypical environments.
They are not axioms, nor logical categories, neither natural or artificial processes but the means, tool, method or meta knowledge of meta process, in other words to manage traffic of this kind of entities and supposed meta reals.
Everything is of new construction, from nothing, from point 0, of an empty state.
Once you access this type of experience its where new encoding of definitions, implications and applications of the new manifestations of the reality in terms of salubrity which is the same as heath, arises.
The meta gives us: expression, communication, relationship, knowledge, formation. All together, integrated and simultaneously.
Social Formation (Meta didactic) and collective education (Meta formation)
Its must start from the base of functionality (epistemological and ontological) of graphics, it transforms into a contextualization in which instrumentality becomes operational based on the interaction of sound-graphics-movement, instead of reading-writing-calculating.
The connection between the implications and applications of inter-sensory integration is at the heart of change required by the new manifestations of human reality. In the sense of access to a better comprehension of the meta contents, which are the attributes, magnitudes or values of the auto interaction.
The length, width, speed, direction, point, mode of occurrence and their location upon arrival at the time of support, its mode of disappearance and the time of the presentation on stage produce an inter stimulus immersion that refers to an inter functional relation between sound, graphics and movement.
The affection of the sound sequences (talking about an environment outside of the criteria for general music theory), imposes the need to generate a circuit formed by the paths of translation and interpretation of each of the series of sounds (up to five simultaneous), in which the tone or note have no greater value than to facilitate the intelligibility, given its universal acceptance as a formulation of a script, something like the sight reading of sound material.
It’s perfectly appropriate for an edition of the production resulting from the initial affectation (auto interpretation) and after affectivity or elaboration simultaneous terms of expression, communication, relationships, knowledge and training, characteristics of the meta process or eco-auto interactivity.
The sound is the expression of compressed reality, represented in terms of communication.
The following modalities of visual inter process must be established: Supragraphy, prography, metagraphy, neography and interdiagraphy.
The visualization of reality through graphics aims to improve production and support materials that proceed, or report the truth of the intrinsic, which contemplated in all its virtually plants some minimum required levels of legality that suppose a discontinuity of the Cartesian and phenomenological models.
Therefore the quantitative and qualitative methodologies require of the meta Tran versatility to prevent suture that derived from rational or emotional models.
Finally, the aesthetic becomes traversed by the dynamics of the results of integrated sensorial inter process, which places it as a new writing of the lucid converting it to healthy, as it transmits updated information, as it converts to a propaedeutic and prophylactic discipline.
The progestion replaces the prolepsis to representation; in the end a repertoire of general patterns of action emerge. These new patterns generate a new category of samples at a motivational level that place a level of discipline to this thematic in the order of a new Inter-modal Ethics.
They are not ideas or emotions, but skills that can be placed in a meta conductual state of activity of new plant and its only important for the access of meta real experience.
III- METAGRAPHIC SOFTWARE.
While it comes to handling meta graphic materials exclusively, in which sound and motion are integrated in a meta graphic which powers possibilities of research and experimentation in this field with all its implications and applications, web space would fundamentally serve as support for transmission, distribution and script for activities to be performed at different scenarios, seminars, courses, lectures,…etc.
THE INTEGRATION OF SOUND-GRAPHICS AND MOVEMENT
Self-interactive related terms:PSICOSONOGRAPHY, SYNLOGIC, SYNGRAPHICS,
ETHICS, INTER-MODAL, ENVIRONMENT FOR THE PROCESSING OF APPLIED KNOWLEDGE:
These refer to the theoretical conceptualisation, proposed here through an
explanatory model, of an inter-modal nature for the development of conduct,
bringing forth genuine self control by means of effective, regulated and
Sound encapsulates multiple interrogators, whose clarification demand an
ordered undertaking as it forms an integrated instrumental process, which
simultaneously include a motor and a visual dimension -characteristic of
responses to reactions derived from the execution, interpretation, translation and
projection of compositions created within this environment. Despite the appeal of
the theoretical value and creative quality of acoustic instruments, it tends to be
very difficult to distinguish their cadency regarding what is understood, and
produces understanding or codification, of the consequences and effects of interstimulation
The following must be established as principal characteristics in proposing
- A. COMPOSITION. Elaboration of a series of sequences of sound and
- B. VALUEING. Protocols – documenting collected results of actions taken.
- C. EXERCISE. Practice through Verbal, visually illustrated, kinaesthetic,
written and sound expression
- D. PRODUCTIVITY – Management of idea development
- E. TAKING NOTE. Graphic representation.
The attributions of internal structural relationships of interactive nature in
settings designed for integrated inter-sensory stimulation are of great theoretical
and practical importance for the following:
• They can help bring out the appeal of the relevance of the graphic pattern
imaging that represent the effects of the stimulation by means of sound
• The organization of sound elements in the correct order and timing with
the different phases of the exercises within the process of composition, i.e.
using the graphic pattern imaging resulting from the sound-graphics for
what could be understood as derivatives of the field of movementreferences
are based on the results of the neo –inter-gestural graphic
The specific task that this demands is the graphic representation of
sequenced sound effects and/or the continues trajectory of their process of
The use of the previous graphic patterns produced in the same manner may
serve as a guideline for the composition of a new sound sequence, i.e. previous
listening and simultaneous visualisation sequences already elaborated using this
criteria used as a foundation for the patterns to which a simple sound or graphic
composition is applied.
The participation in developmental experiences of inter-stimulation with
complex materials, such as sound and graphics can play a decisive role in
creating the day to day experience facilitating improvements in the quality of life
by developing transversal cognitive goals.
The general application of the Inter-modal Theory entails the basic
concepts of the instrumental basis of the inter-modal process derived from an
integrated approach to reality via sound, graphics and movement interacting in
favourable conditions for the access of developmental abilities.
This innovative type of experience and activity has a characteristic
transversal aim, and for this reason it compliments scientific and technological
training. It contributes to collective discourse, useful as a references in social
development, as it integrates contemporary contributions from disparate
disciplines -resulting in a clarification of inter-.applications for the use of
structures and techniques, as well as advances in the science of knowledge,
including benefits to technological environments. The process of productive intersensory
exercise allows for design related to consumption and lifestyles that
harmonize the quality of individual developmental projects within the eco-psychocollective
discourse, wherein the practitioner should acquire personal abilities
pertinent to the collective frame work of techno-cultures
The simultaneous production of sequenced sound, graphic patterns and
structured movement, (Sound graphic movement) demands a unique setting, simple yet
complete, within a productive mechanism conducive of enriching systems of efficient
activities in non-stereotypical environments.
The product and further results of Inter-modal activity in the appropriate Synlogic
environment are variable, as they deal with a surprisingly well ordered dynamic set of
This withstands the premise that the environment allows for series of activities which
can be characterised by criteria valuing them by functions from an undeniable and real
centre of involved development, assuring productive potential in registering complex
stimuli that transcend the stereotypical environments.
As a result the inter-modal ethic can be a conducive for explaining and facilitating
the evolution of individual and collective psychology with consequences particularly
establishing a healthy mental state and developing successful achievements in daily life.
This environment deals with methods of process which initiate new kinds of
activities and experiences in a useful environment practicing complex yet achievable
tasks which provide a sense of fulfilment.
CHARACTERISTICS OF THE SYNLOGIC ENVIRONMENT.
A tentative affirmative, lucid, positive and open senses sits in the logical
integrated results produced by inter-sensory-immersion:
The psychosonography of synlogic is the simultaneous use of sound and
graphic elements with movement, presented within descriptively
explained, organized criteria and ordered functions.
The resulting product is based on a sensitive technological material support
system, and made up of graphics created by bodily movement influenced by
Experimentation surrounding the theme of inter-sensory-immersion and
production looking at individual differences, e.g. comparing different patterns
regardless of relative norms to new modals for managing knowledge. This can be
applied as part of an integrated approach to processing the implications of
This mode of activity and experience allows access or connection with new influential
possibilities for a better understanding and management of non-stereotypical reality
Acquisition of abilities for involved development in open environments facilitating
the simple codifying of exercises or personal activity, using new media
characterised inter-sensory stimulation.
The material object study:
I A sonic context susceptible to being represented by means of notation. This
context is not music, but rather sequenced sounds based on structured intertonal
relationships founded on categorical perceptions allowing for expressive
creativity., intelligibility, relationships, favourable references of communication
with technological means for the processing and understanding of real
II-Graphic patterns corresponding to the notations, or inter-sensory writing, that
constitute the representation of:-The area affected by the effects provoked by the
trajectory o pathway used for the translation or interpretation of the organized
sounds. A kind of notation appears amidst the activity that refers to the vectors or
magnitudes that allude to motivational values, as it is in the previous, yet as
regards to the adequate efficiency for transmitting complex information.
III- General patterns of structured actions composing a set of interests for
cataloguing the conventions for a collective ecological environment benefiting
intervals as well as society.
This new discipline covers a broad depth of situations, within wich we can
discover and resolve concrete explanations and responses, in a pre-textual context,
which result as unquestionably useful for the improvement of a logical approach to interfunctionality.
The focus on these exercises and their products allow us to reach a
balanced stability within influential conditions that encourage the development of
activities and experiences that hope to surpass the pseudo complex media which
currently prevail yet impede going beyond the known or accepted; as well as that of
conventional means for developing understanding and managing of reality.
At the moment ethics are presented within recommendations and indications in
the field and creation of tools for info-programming demanded by the need for
multimedia expression. Each product reveals an aspect of ethical formation and
commitment giving way to new methods of thinking as consequence of the integration of
innovative experiences that broaden the possibilities for new kinds of activities,
production and creative expression.
The axiological criteria result in imposing upon consumer ecological norms:
Decision. Election. Selection. Determination. Definition.
Agreeable, content. Evolving. Simply Open
This creates a necessary transformation simultaneously at multiple levels which brings
forth positive mutations caused by the urgent need for new cultural elements.
Moral arguments are implied throughout the characteristics of the Synlogic
software and are translated by way of its possible applications
SIGCA-INTEGRATED MANAGEMENT SOFTWARE APPLIED KNOWLEDGE
SIGCA is a software that allows the creation of graphical compositions
and animations based on superimposition of geometrical shapes derived
from rectangle primitives.
When launching the application the user is presented with a black, empty
window. This is the canvas. There interface is originally hidden so to
maximize the viewing area.
By pressing the right button of the mouse the menu can be opened or closed.
The menu is composed of:
Several tabs: which include all the features present on this software.
Variable set of controls including buttons, toggles and sliders: these
controls command the several parameters for each of the tabs and vary
according to the selected tab.
A Time Line: allows to Play or Pause the application as well as move
along the timeline's play head.
Tabs and Functions
The available tabs are and their functions are:
Create: controls the creation and deletion of Shapes.
The available options are:
1. New: Creates a new Shape with default properties
2. New Random: Create a new Shape with random properties
3. Delete: deletes the selected Shape
Shape: controls the properties of the selected Shape pertaining to its
The available options are:
1. Width: sets the width of the selected Shape
2. Height: sets the height of the selected Shape
3. Rotation: sets the rotation of the selected Shape
4. Thickness: sets the thickness of the selected Shape
5. Corner: sets the radius of the corner choosing between different
degrees of roundness
Color: controls the color of the selected Shape
The available options are:
1. Red: sets the red component of the selected Shape's color
2. Green: sets the green component of the selected Shape's color
3. Blue: sets the blue component of the selected Shape's color
4. Alpha: sets the transparency of the selected Shape
5. Brightness: applies a brightness transformation to the Shape's color
6. Contrast: applies a contrast transformation to the shape's color
Background: controls the background's color
The available options are:
1. Red: sets the red component of the background's color
2. Blue: sets the blue component of the background's color
3. Green: sets the green component of the background's color
4. Random: sets the background color to a randomly selected color
5. Average: sets the background color to be the average color of
every Shape present on the canvas.
TimeLine: controls the properties of the Time Line
The available options are:
1. Loop: sets wether the Time Line plays in a loop or not
2. Speed: sets the play head speed ( to perform fast forward or slow
Blend: controls how the Shape's colors are blended together
The available options are:
1. Additive: sets additive blending of the colors
2. Normal: sets normal blending (blending is dependent on the Alpha
value of the Shape's color )
3. Subtractive: sets subtractive blending
4. None: disables any blending
Glow: controls a glow filter on the Shapes
The available options are:
1. Strength: the strength of the glow
2. Size: the amount of pixels that the glow reaches
File: options for file input and output
The available options are:
1. Save: saves the current composition to a file
2. Load: loads a previously saved composition
3. Export Image: saves an image of the current composition. The user
can define the image format by setting the file's extension (for example
by defining “image.jpg” the image will be save in JPEG format). The
default format is PNG
4. Export Image HiRes: exports a high resolution (4096x3072) image of
the composition. The save formats and rules apply as for the Export Image
5. Export Sequence: exports a sequence of the current composition
animation. It plays the Time Line and exports an image for every frame of
the animation creating a numerated image sequence. The same image formats
are available as in the Image Export
6. Export Sequence HiRes: exports a high resolution (4096x3072)
sequence of the composition animation. It plays the Time Line and exports
a high resolution (4096x3072) image for every frame of the animation
creating a numerate high resolution image sequence. The same image formats
are available as in the Image Export
After Shapes are created they can be selected by pressing the mouse with
the left button over the desired Shape. When a Shape is selected Size and
Rotation handles appear over the shape. By dragging these handles the user
can changes the Shape's with, height and rotation. It is also possible to
change its position by dragging a selected shape.
- The storage or registration must be done element by element.
- For each of the elements data processing must be recorded, (length, width, color, color intensity, location, position…)
- Up to 625 elements or units.
- The movie or meta graphic must allow:
Establish the order of appearance
Assign a time exposure
Taking into account the following criteria:
MOVIE TO FULL SCREEN:
During the load up to five gray squares gradually appear, once reached the fifth it edits and opens the file.
Meta Session/Session Intermodal:
It consists of a series of 5 basic open units; each will have a maximum of 125 elements. In total it materializes in less than 625 pieces.
Its not a process neither totally static nor fully dynamic, but it maintains a pace of presentation that facilitates the meta reading for the viewer.
All elements (background and figures) should be translucent.
It has a frontal and telegraphic format.
Combinations between attributes and magnitudes of meta contents:
- Intensity of color. Criteria of discrimination. (Visualization through chromatic nuances).
- Mode of appearance.
- Presence of support.
- Mode of disappearance.
- Direction by the orientation of the segments at the time of its emergence.
- Transparency. Mix of the colors at intersections.
Instructions. Protocols. Meta diagnosis. Evaluation
As a technique, first, we proceed to the vision of exemplary images of these features, from previous tests.
Then follows the listening of the sound sequences. Simultaneously with the audition, it asks to conduct a free graphic expression.
It’s convenient to maintain sound stimulation at the necessary time, according to the subjects to be assumed and produce affectation.
It follows the analysis of graphic work done by other subjects on these assumptions.
Then the participants write their impressions and read the previous participants’.
They are allowed to analyze the drawings of each of the participants, also the written comments made during the session.
It concludes with a dialogue of the topics discussed.
The session lasts about two hours.
Once developed the graphic diagrams, as an expression of an idea, concept or structure, will seek to exhaust the interlacing of the different pieces or series for the subsequentanalysis and study and ultimately for the constitution of the definite interactive notation.
The result of this psycho-sonographic experience is a psycho-sonogram.
1.To express the most interesting content of self-activity.
2.Graph the sound sequences.
3.Static/Dynamic. Express what you cannot represent.
4.Ideas that give rise to this type of stimuli.
5.Reflections on these experiences.
1.Brief description of the impression or the effects of the sound sequences.
2.Affectation of graphic schemes.
3.Explanation of the process followed in performing the meta graphics.
4.Summary of the nature of the patterns produced by each participant.
5.Impressions on various aspects of the experience made.
All these elements allow us the individual management of meta information:
-The environment must have low light
-Materials will be needed to enable us to draw and write.
-Necessary means will be needed to enable us to view pictures and listen to music.
-It is possible (and in some cases recommendable) to freeze the emission of images to guarantee a detailed analysis.
Actual experiences users.
-It is another type of mental functioning.
-Difficulty in finding the meeting point between the sound and the graphics.
-Draw a melody.
-Roll back to the beginning of everything.
-Creation of space, filling it all.
-Fascination. The sound can direct the intention.
-Perception as a weapon creator.
-Psychosomatic exercise. The sound comes out and enters through the hands. Be transferred with enough time under favorable conditions.
-Communicative power of the being without language. Transcend the everyday life.
-Wakes up the interest for the global and the absolute.
- Imagination, when it lacks references it’s an alienating weapon.
-The suggestions of the reflexivity.
-Representation of the auto activity.
-The importance of the collective ecology. .
-What makes us choose a line, a color, etc…?
-Transport to intermodal activity.
-Is getting there like that before, better and later on?
-To enhance the more productive skills. .
-The results show many similarities when compared.
-A new level of representation.
-The best is within us.
-Interpretation of nonsense.
-Listen and speak first seeing and later through movement.
-Intelligible access to functioning motivations.
-Materialization of the ideas.
-Mode of acting, fluid and flexible.