Auditory Visualities is a visual and auditory exploration around the physical representation of music. From several genres and parts of the world, short animations were developed based on the intro of songs. The visuals were chosen on an individual basis, the question most often asked was: “What does that sound look like?” followed by “How was it created?” and “How can it interact with other sounds from the same composition?”.
The animation template is constant, a 1080x1080 square, composed of background, main motif, and some kind of lighting. Each element is created and moved based on sounds.
when the party is over
Calm and Serene, the intro to this song sounds like the birth of a dim light. Somewhat like the struggling of a single particle that aims to fill its universe with luminance.
Depressed but hopeful, the highly contrasting look serves to express the silence that is very present in the sound.
Iconic symbol of Rock, using a familiar Led Zeppelin’esque color pallet, together with aggressive and confident shapes that morph to the guitar strums. Robert Plant’s characteristic vocals are represented by a halo of light that enlarges along with it.
With dark and muted punchy colors, this pallet is very characteristic of LZ from the 70s
Panic! At the Disco
The modern/retro aesthetics that Brendon Urie has been developing was the initial inspiration for this. A shape that expands on the beat of the bass along with the spotlights and destroys itself at the end.
A funky color scheme based around warm tones with a blue complement, taken from the jumpy and ‘trumpety’ nature of this intro.
A highly electronic and artificially sounding harmony of sounds is represented by flashes of color that are further enhanced by the light dispersion inside of the transparent center element.
Electronic and super saturated colors come from the very animated character of this intro, along with it’s association with Japanese shonen anime.
Small spheres hitting a bigger one, making the low bumps of the bass accompanied by halo animations that follow the brighter piano strums.
A black and white filter gives the animation its timely feel while keeping a close relationship to Queen’s early aesthetics.
Como os nossos pais
An earthy and very human touch, a center shape that is reminiscent of a red flower, and steel strings that strung along with the guitar. This animation tries to resonate with the very warm and human feel of Elis’ voice
Desaturated and earthy colors inspired by Elis’ voice and performance,
The two contrasting sound elements: the calm ethereal melody and the bass drum beats, make for a great visual tool, while the calm melody becomes blue and red waves of flying lights, the bass beats are flaring brigh white ones that fly out the center.
Neon colors that tend to represent the electronic nature of the into of this song.
The intro to this song is very simple and visual, the high timbre of the metal on metal sounds creates this xylophone-like vibe.
Colors that turn the focus to the motion of the parts and their relationship to the sound they produce.
Bad Kids to the Back
As the most real of the bunch, this song has very tactile sounds, from the presence of more jazzy instruments, and several drums. Thus its representation had to be reminiscent of that.
Real and warm colors, ones that are related to real-life instruments and performances.