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67
 
 MASTER
AND
 MARGARITA
AN INTERACTIVE AUDIOVISUALadaptation of bulgakov
’ 
s novel
Nuno N. Correia
 
Abstract
This paper presents
Master and Margarita
, an interactive audiovisualproject adapting Mikhail Bulgakov’s novel of the same name. Initial-ly it was presented as performance, and later it was released as a web-site. The project aims to address two main research questions. First:how to integrate music and motion graphics in an interactive audio-visual project, in a way that is easy to use and engaging to experience?Second: how to adapt a novel into an interactive audiovisual project,not only being faithful to the narrative, but also creating a coherentand autonomous work, expressing the artistic vision of its authors?In this paper, the project is presented, focusing both on the per-formance side of the project and on the website version. The col-laborative process between the authors of the project - a musician/programmer and a designer/animator - is discussed. The project is
 
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The development of “color organs” and other integrated audio-visual instruments would continue in the 20th century.Richard Wagner idealized a type of artwork that would combinedifferent arts – a “total art work” (
 gesamtkunstwerk
). Wagner described itas an operatic performance that encompasses music, theater, and thevisual arts: “the true Drama is only conceivable as proceeding from
acommon urgence of every art 
towards the most direct appeal to a commonpublic”. To achieve this, “each separate branch of art can only be ful-ly attained by the reciprocal agreement and co-operation of all thebranches in their common message” (Wagner 1849, p. 5).Several explorations in the first half of the 20th century devel-oped further the integration of sound and image in art, notablywithin Bauhaus (with works such as
Reflectorial Color Play
, by LudwigHirschfeld-Mack and Kurt Schwerdtfeger) and the Futurists (for ex-ample, with the direct paintings on film by Arnaldo Ginna and Bru-no Corra) (Moritz 1997).The development of cinema allowed for experiments in combin-ing abstract animation and music, often classified as “visual music”,such as the work of Oskar Fischinger and Walther Ruttman (Moritz1997). The development of electronic technologies inspired otherauthors to pursue new ways of synthesis of the arts. As Roy Ascott as-serts, “in the attempt to extricate human content from technologi-cal form”, artists increasingly “bring together imaging, sound, andtext systems into interactive environments that exploit state-of-the-art hypermedia and that engage the full sensorium, albeit by digitalmeans” (1990, p. 307). Ascott called this convergence “gesamtdaten-werk”, inspired by Wagner’s concept of “gesamtkunstwerk”.Electronic music has played an important role in exploring theframed within the fields of new media art, audiovisual art and in-teraction design. It is also put into relation with past interactive au-diovisual projects by the same authors. The novel is briefly present-ed, as are previous adaptations to different media, such as TV andgraphic novel. A conclusion follows, assessing the answers to the re-search questions, and presenting further reflections on the relationbetween the novel and the interactive audiovisual adaptation. Fu-ture work is also discussed.
1. Context
Master and Margarita
is a project by Video Jack, a duo composed bythe author (musician, designer and programmer) and André Car-rilho (illustrator, designer and animator).
Master and Margarita
can becontextualized within a series of works that aim to create integratedsound and image artworks.Already in ancient Greece, philosophers such as Aristotle, Py-thagoras and Plato speculated that there is a correlation between themusical scale and colors (Moritz 1997; Van Campen 2008 p. 45).In the 18th and 19th centuries, various attempts were made tocorrelate music with colors. One of the earliest and most notable ex-amples is the “Ocular Harpsichord”, a “color organ” with 500 can-dles built by Jesuit Father Louis Bertrand Castel, which consisted of “a 6-foot square frame above a normal harpsichord; the frame con-tained 60 small windows each with a different colored-glass pane anda small curtain attached by pullies to one specific key, so that eachtime that key would be struck, that curtain would lift briefly to showa flash of corresponding color.” (Moritz 1997)
 
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face visible (and sometimes interactive) to their audience, they wishto bridge the gap between performer and audience, between authorand user. Video Jack also aim to explore other channels to presenttheir projects, such as the Internet.
Master and Margarita
pursues the objective, common to other VideoJack projects, of creating a tool for manipulating sound and visualsthat would have a similar flexibility as a music instrument, and thatcould allow for the same kind of improvisation and expression. Asin previous projects, Video Jack aim to make the act of manipulat-ing the audiovisual material apparent to the audience, similarly tohow the audience views a musical instrument being played live in aperformance (an additional parallel to musical instruments). Thecombination of the audio and visual content with the visualizationof its manipulation should ideally result in an engaging experiencefor the audience.
Master and Margarita
came about from the desire of creating a fol-low-up project to
Heat Seeker 
that would be visually and sonicallymore coherent, and that would incorporate some of the sound ma-nipulation and audio reactivity aspects of 
AVOL
, while maintain-ing the playfulness of both projects. Video Jack also aimed to createa web version of the project with more visual manipulation capa-bilities than
Heat Seeker 
. In order to develop a project with a highernarrative and visual consistency, and also musical coherence, VideoJack decided to adapt a novel. They chose
The Master and Margarita
, byMikhail Bulgakov (2006). A book adaptation raised a new challenge:to strike a balance between being faithful to the narrative and uni-verse of the writer, while maintaining an autonomous artistic vision,in line with previous Video Jack projects.possibilities of digital art in the late 20th / early 21st centuries, and isa broad creative area, which often incorporates a visual element: “ar-tistic digital sound and music projects are a large territory that in-cludes pure sound art (without any visual component), audiovisualinstallation environment and software, Internet-based projects thatallow for real-time, multi-user compositions and remixes, as well asnetworked projects that involve public places or nomadic devices”(Paul 2003, p. 133). As Christiane Paul states, many of the projectswithin this area “stand in the tradition of kinetic light perform-ance or the
visual music
of the German abstractor and painter OskarFischinger” (Paul 2003, p. 133).Dieter Daniels suggests that the close interrelation between vis-ual and sonic media since the 1990s is due to the advancements indigital technologies, and “the synthesis between image and soundtechnology when working digitally” (Daniels 2005). Since the intro-duction of the Macintosh and Windows computer operating systemsin the 1980s, common used software for composing electronic musicrely on a graphical user interface (GUI).
2. Motivation And Aims
The
Master and Margarita
project intends to develop further con-cepts and approaches explored in two previous works also by Vid-eo Jack:
Heat Seeker 
(2006; online version 2009) and
AVOL
(2007). Intheir projects, Video Jack aim to combine visuals with sound in elec-tronic music performances, restoring a visual element that is lack-ing in laptop-based music performances, and creating an engaginghypermedia experience for the audience. By making the user inter-
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