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Colour Mirror began as an alternative interpretation of the work already begun in 'Composition 1' (now known as 'Soni-Chrome'). Using further manipulation and transformation techniques on some of the original video captured and rendered for Soni-Chrome the result was an interesting and seemingly more 'synthesised' and geometric piece of video work. The processes applied to the visuals had the effect of transforming the colours into more vibrant and fundamental tones. The angular nature of the forms that were developed and they way they transitioned when cross-faded also hinted towards the purer ‘synthetic’ qualities that were contained in the original pictures. The video wasn't actually created by generative visual synthesis; it was derived from the transformation of photographically produced video in a similar way to the development of the Soni-Chrome video.
In view of this and since it had been decided prior to this that all the audio for Soni-Chrome would be produced from original found sounds and be in the form of an electroacoustic composition it seemed appropriate to create the sound track for Colour Mirror exclusively from synthesised sounds. With the general nature of the video appearing synthesised and having a more 'blocky' defined texture to it, sound synthesis allowed a greater level of precision and ‘belongingness’ to be applied when designing the original sounds. Also as discussed in the Soni-Chrome commentary more of the creative work for this piece was applied to the generation of timbres that would emphasise the colour properties of the video. This was opposed to more energy being devoted to the compositional structure as was required to gel the sound track with the visuals in Soni-Chrome. This piece then acts as a complementary to Soni-Chrome and the name ‘Colour Mirror’ can be seen to have several meanings. One interpretation is that Colour Mirror is a reflection and development of the Soni-Chrome work. It also refers to the kaleidoscopic production techniques used in creating the video.
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