Interview with Andrzej Slavinskoye - author AudioStrobe

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Interview with Andrzej Slavinskoye - author AudioStrobe

Post by Владимир Никонов » Sun Mar 27, 2011 0:54

[html]In magazine: <a href="http://www.mindmachine.ru/eng/avs/">AVS Jornal 2.2</a>
<font size="-1">the translation into the Russian language: Nikonov Vladimir </font>

br><font size="-1"><img src="/audiostrobe/pic/slawinski/japan_fest.jpg" alt="Andrzej Slaveski now"></font><br>

<font size="-1">Andrzej Slavinskoye now. Photo from <a href="http://scent-of-sound.com/">scent-of-so ... </a></font>

br><font size="+2">what started technology Audiostrobe (Audiostrobe)?</font>
<br / >this is actually the story of my life.
<br / >At the age of 14 I had the opportunity to go to the Soviet Union, two weeks after returning to Poland, to the United States. I think I now have experienced some kind of social shock, visiting one after another and in a short period of time diametrically different system. (Obviously, Poland was not so "Communist", as it is thought in the world!)
<br / >I was lucky enough to receive financial assistance to study in private University (Gilman) in Baltimore. There I was the victim computers for the first time in my life.
<br / >Almost every day after school, before going to the gym I was lost in the computer room. And I didn't have a computer! It was one of the first stationary HP systems with 64 K RAM and huge like a wardrobe!
<br / >And it was there, in the music room the first time I heard electronic interpretation of Tomita's "Pictures at an exhibition" by Mussorgsky and then "Inspired by Bach".
<br / >I was very impressed with the possibilities of electronic music and he made the first attempts in this direction on his school HP. I was not able to achieve the same sound as in the computer HAL, but still managed to record a few different rhythms. I also used my parents ' stereo to record the sounds of falling books, slamming chairs and resonating sounds of the microphone. I put listen to this piece of American record colleague of his father, and he, in amazement, asked: "How did you manage to get such a sound?" I think he was disappointed to hear how easy it was.
<br / >In one of the mail directories I found simple devices for relaxation, is developed based on the technology of biofeedback. I would like to purchase such a device, but it was beyond my financial capabilities.
<br / >Once one of the American magazines I read an article about synesthesia. I was amazed by the stories of people who can see sounds or smell visual images. Although descriptions of these people are more like descriptions of pathological conditions, I felt these "symptoms" there is something more, something from the process of creativity. Then I did not know that this phenomenon of synesthesia will be one of my main ideas play the role of the Director and producer of my life.
<br / >After a year of stay in USA I had to go back to Poland. My passion for electronic music increased, especially after watching the scene "Flight tunnel" of<font color="#000000"> film Kubrick's "2001".</font>
<br / >For healing from depression caused by the gray reality of "socialist" society and the rigid school system I built a color organ and danced, casting a shadow on the wall to the beat of music hard-rock ' 70s.
<br / >Shortly after I passed the age of 16, I read an article in the official journal "Poland" of the Polish artist Stanislav Ostoya-Kotkowski (Stanislav Ostoja-Kotkowski) living in Australia, who experimented with music and visual images generated by means of modulation of laser beams, audio signals.
<br / > I saw the pictures from his performances and was very impressed. The editors of the magazine "Poland" was so kind that he agreed to convey to the artist my letter and two weeks later I received his response. I wrote him again, and again received a response. He was so kind to me, telling me about his new project, which was planned to operate laser beams with the help of biocontrol (biofeedback) to create visual images.
<br / >It revived my interest in EEG and other systems of biocontrol, with whom I met in the United States. I ordered some electronic catalogs of amplifiers, but they were all insensitive and, moreover, available for order in Poland. I then moved with my parents to another city and lost contact with Mr. Ostoya-Kotkowski. Now with the Internet, I found that it sunk into oblivion. Some of his work can be found in the database at the University of Melbourne.
<br / >I Soon had the opportunity to showcase their first "masterpieces" at the international fair in Poznan. The keyboard was my control panel. My girlfriend waited patiently for me, but I was lost in a world of sounds, again and again making spectacular passes on a simple synthesizer. Some time later, maybe even in a few hours, I heard a voice: "Hey, man, it's time to pack, and not something you can go crazy!"
<br / >With two of my University friends, we dismantled Russian transistor computer "Minsk", which was a "sponsored" our school, the local University, because they had to make room for the new model with the integrated circuit.
<br / >Using all these details and something else, we simulated and optical adapter for the guitar, and the simple polyphonic system, which includes a call generator and a few other audio effects. With this equipment I recorded their first song.
<br / >It was a time of great change, both in myself and in the political climate of Poland. My stormy inner energy had found an outlet in reading modern literature, writing poems, radiostancii and short stories; I was also experimenting with sound and drawing again. Then I had a project in which music and visual images had to come together in a synaesthetic sensations. I planned to apply the technique of spraying and camera time-lapse photography. The basic music as Beethoven's Ninth Symphony.
<br / >In high school I started to study physics, but soon noticed that my creative inclinations take precedence. I joined the experimental theater group "Maya", first as siteregistry, and soon got the opportunity to test himself as an actor. It was a wonderful time – the writing of the play, techniques of improvisation, change, development. I participated in many Polish and international theatre festivals and other cultural events. These 3 years were for me a period of such intense personal growth, communication with actors in the community and intensive social changes, the culmination of which was the movement "Solidarity" that my memories it is possible to put in a separate story.
br><font size="+2">Theater "Tamas"</font>
<br / >In a friendly international atmosphere of the University of Heidelberg I have started a new theatre group "Theatre Tamas". The start script was my interpretation of the fairy tales of Hermann Hesse "Message from the stars". We used black light (UV) to quickly change the images of different worlds. In this play, which deals with the problems of war and peace, we also used interviews with passers-by on the streets and talk to children, talk about the war. To prepare audio tracks I used the equipment in the language lab.
the <br>Outside the group of "Tamas" I actively practiced together with professional Argentinean actor Jorge Akvista (Ogde Aquista). He attended one of my performances and asked me to work with him. The main activities at the time it was lectures and workshops on theater arts. During our rehearsals we learned a lot from each other, he taught me his performing technique, and I am his – his.
<br / >Soon we decided to prepare an audiovisual performance, based on the books <a href="http://www.koob.ru/castaneda">Carlos Castaneda</a>, Polish poet and dreamer Adam Mickiewicza, the philosophical doctrine of Wittgenstein and others. The play was called "the Power of parallel reality", I played don Juan, and he, Castaneda, and each of us was a Director of another. We toured many cities of Germany, lived on the income from performances and conducted classes and workshops in theater arts.
<br / >the Next play was "the Birth, life and death", I played it with my wife, who at the time was pregnant. This time it was a collage of our thoughts on this subject. The first time I used the music of his own composition, which I played the Korg PolySix synthesizer with four audio tracks.
<br / >Then from Heidelberg we moved to a small village of Krumbach in South Germany. There I part of the house lives on the premises for the theatre. So I continued the activity of "Theatre Tamas", rehearsals and workshops. One of our pieces was the world premiere of Russian playwright Vvedensky "Christmas in Ivanovo", a very funny and poetic theatrical piece.
br><font size="+2">Laboratory of Tamas</font>
<br / >My passions in Krumbach were music and photography (slide shows). First, I modified Polysix synthesizer and Amiga computer Commodore 64 so that you can "program" certain musical sequences and sync them by audio device DBX 4 track.
<br / >Using the technique of "ping-pong", I was able to record up to 10 different tracks. It was then that I wrote my first film for theater and meditation "Waves of harmony". My next step was the control of the individual keys of a synthesizer with a computer. And then there system MIDI, musical instrument digital interface (<em>note: the standard pairing of electronic musical instruments with your computer and software</em>).
<br / >I purchased one of the first MIDI synthesizers for the Commodore 64 (C Lab). I sold my old Polysix with all the extra cables and bought a DX 7 and Korg synthesizer. The synthesizer was quite primitive, but quite suitable for processing, for example, plays Prokofiev.
br><font size="+1" face="Geneva, Arial, Helvetica, sans-serif">somehow, when I got the next issue of the American magazine "V mire nauki" (Scientific American), examining the images of fractals, the first time I experienced synesthetic sensations that changed my life.</font>
the <br> following is an excerpt from the article that I wrote in 1993 for the magazine "Chaos" ("Chaos Magazine") of Munich Technical University:
<br / >"My hand moved, attracted by the red exploding flames, pouring out two closed circles. It was called the Mandelbrot fractal, and I thought then, what really is the meaning of this strange picture.
br><img src="/audiostrobe/pic/slawinski/pic_9.jpg" alt="Mandelbrot">
<font size="-1">Mandelbrot fractal</font>
<br / >I opened the magazine, and my gaze was immediately involved in a spiral tunnel that you can fly farther and farther. My imagination literally gushed ideas image, filled with light and sound. For a brief moment I flew in a space filled with moving, constantly changing colored light and pulsating sounds.
<br / >I tried to understand, how were these images, and soon learned that it was a creation of the computer: the Magical world of fractals. Undoubtedly, there existed a certain algorithm, but I didn't have a special gland. A few days ago I installed on my Commodore 64 computer small interface for handling records synthesizer Korg Polysix. I asked his friend, remembering our conversation over a bottle of Spanish wine, a copy of the magazine.
<br / >still under the impression of the resulting sensations, I tried to transform them into musical images. The first song, which was included in its structure the chaos and the order was recorded on 10 tracks, and I called it "Waves of harmony". I often used it in his classes in theater arts for exercises for relaxation.
<br / >a Few months later, again inspired by an article in “Scientific American” devoted to the iterative chart, I began to create his electronic sound Studio. I purchased one of the first of a series of MIDI synths, a sampler, a recording device on 8 lanes, the Studio for sound mixing, instruments for creating sound effects and two of the Atari ST computer.
<br / >the First computer was used in order to create a musical sequence based on fractal algorithms to represent the sequence in the form of fractal graphics, and finally, to pass a sequence through an electronic synthesizer to the second computer.
<br / >On the second computer using the program synthesizer were recorded, edited, cited to the selected standard, have transponible, overwritten in different tracks, recorded back etc.
<br / >it is Now possible to use simultaneously several different musical instruments for the recording of one party and the record is saved on disk. At that time iron of this type was limited to 16 channels, most of the synthesizers had no MIDI-mode, and they were able to name one musical instrument. The problem was solved using multi-track recording system. Private party music songs recorded one after the other, and then synchronized according to the pattern recorded in advance on one of the tracks.
br><img src="/audiostrobe/pic/slawinski/as2.jpg">
<font size="-1">Andrzej Slavinskoye currently</font>
<br / >Recorded tracks re-aranzhirovany using sound effects such as reverb, delay sound, choral performance, etc., on the master track. At that time I used the video system PCM (PCM), which then gave way to digital audience".
the <br>more and more immersed in experiments with fractal music, I realized that this is something more than just fun or whimsy.
<br / >the Following text about fractal music presented at international conferences and festivals, was written for system multimedia presentation (Multi-Media Presentation):
br><font size="+2">Music Tamas Mandala</font>
<br / >the Newly created Music Tamas Mandala was not from the inspiration of sentiment, so peculiar to the human species. Rather, it is something much more meta - and perhaps transpersonal in nature.
<br / >Often amazing, sometimes very strange world of sounds of the Tamas laboratory is a reflection of natural phenomena, the structure of which has amazed mankind since time immemorial. How often as a child and even an adult you observed smoke rising from the fire, murmuring trickle of a small stream or the clouds playing with the sun?
<br / >just like the unknown expanse of the desert with its undulating dunes, the view of the mountain ranges with their peaks and valleys or tiny ripples in the surface of the sea the sound of music Tamas Mandala awaken emotions of the yearning for unity with the Universe to the infinitely varying forms, to eternity with its limitless potential. All becomes relative. Any assessment here does not make sense, just as it is impossible to say that some of the snow flakes prettier than the other.
br><b>Fractal view of the world</b>
<br / >We're talking about a fractal view of the world, when we mean that shapes in different systems measuring the same or endless, that they are recursive (patterns in patterns) that the growth process imply feedback or resonance (plexus).
<br / >Example: the cloud of steam has the same form as rain clouds, and they, in turn, have shaped, resembling the clouds that appear in the message satellite. These qualities are well reflected in the fractals of Mandelbrot, open Benoit Mandelbrot (Benoit Mandelbrot) who coined the terms "fractal" and "fractal geometry".
br><b>the Science of chaos</b>
<br / >the Idea of creating music of this type arose from a new world view that developed in the last years the works of biologists, physicists, astronomers, economists and mathematicians.
<br / >Today is a new branch of science known as chaos theory becomes all the more important because it gives us the opportunity of searching ordered structures, emphasizing the chaos. We're talking about the fractal geometry of nature, dissipative structures, deterministic chaos, and oddities that attract our attention.
<br / >These chaos theory is increasingly confirmed by other branches of science which have suddenly been reduced to a common denominator. They all give us the opportunity to understand the evolution of the individual and humanity as a whole, to see the Universe in a new light; whereas the mechanistic and static view of "real world" transformered, we gain the vision of "developing world". This vision gives us the understanding that the world is dynamic, every person in it is unique and, at the same time, connected with the rest of the world "through the chaos".
br><b>the conversion Principle</b>
<br / >But let's get back to the music Tamas Mandala.
<br / >Here are two examples of "chaotic" processes which can be heard by everyone: the dripping rain and the crackling of burning in the furnace of firewood. Both sounds have a soothing, relaxing or stimulating effect, because they reflect the eternal changes or developments inherent in them. A simple example of stimulation of these processes - the wind or the bells that turns the flow of air into sound. Music lab Tamas are also created according to these principles of conversion, but here, as in the case of fractal images, the data is computerized.
<br / >just as today we can more clearly understand the chaos became possible to convert the data into sounds better than bell. The sequence of sound is not so chaotic, and the most complex their relationships become audible and visible. And it is also possible to explore the infinite variety of processes, including those that do not belong to this world. Is this the beginning of what Herman Hesse called <a href="http://www.koob.ru/hesse/igra_v_biser">"Game Biser"</a> ("Das Glasperlenspiel")?
<br / >the Term "Tamas" comes from the name of the laboratory/theatre where it originated. This music was used in the experimental theatre and the processes leading to expansion of consciousness.
<br / >Music is called Mandala because the sounds can be simultaneously graphically illustrated on a computer screen: colored fractal mandalas in an infinite variety of forms.
<br / >At the heart of this kind of music are special mathematical system on measurement data or physical searches of the resultant. They are used to calculate series of shapes which, in turn, are converted into musical sounds and often are interpreted as meditative in nature.
<br / >Of all this are born the plays starting from the "Wheel" that rotates by itself, is a journey into the depths of the ocean, exotic rhythms of the jungle to the call of the Universe.
<br / >Music is quite harmonious, but at times can become apocalyptic. Clutter chaos most sensitive, and there's nothing you can foresee. The data must be calculated symbol by symbol, and even after processing the last symbol, we can never be sure what will follow.
br><b>Path to self-knowledge</b>
<br / >But gradually, after we managed to free himself from the expectations characteristic of music created by man, we have a kind of intuition, a premonition of how certain structures will behave. Here the word Tamas, borrowed from Sanskrit, comes into its own: the recognition of things in its own internal dynamics and the return of the soul wandering in the outside world in search of his own consciousness.
br><b>New dimensions</b>
the <br>Tapes and CDs of the laboratory of Tamas, which are now <a href="http://www.mindmachine.ru/audiostrobe/">available</a> anyone can be used for meditation, dance in trance, a deep relaxation work on body and breath, in an altered state of consciousness; the music can carry us indefinitely consciousness will not be suppressed by emotionally charged structures.
the <br>Music inspires us to accept and to trust the physical processes occurring in us. Thus, we can usher in a completely new and unexplored dimensions of her I May is only the beginning of the kind of music that tries to build a bridge between art and science...
<br / >At this time my interests shifted greatly from theatre to therapy and meditation. I studied breath therapy and control group for two years. One of the key events of the period was again my trip to the USA where I attended a week-long seminar on technology Hemisync (<em>note: Hemi-Sync, short for hemispheric synchronization</em>) in the Institute of applied Sciences in Monroe.
<br / >Hemi-sync is an acoustic method for synchronization of the brain to specific States of consciousness. After another visit to the Institute I received the status of professional member of the Institute and began to use the method in his compositions. I released a few tapes for concentration, relaxation, meditation, etc. for Most of my working time I spent on the creation of new formulas and organize them into new musical structures. This is a delightful work, and the results exceeded all expectations.
<br / >I was both researcher and artist. Soon my music found its audience, and I was able to purchase new equipment for his Studio and to hire two workers for keeping the Studio in working condition.
<br / >still captivated by the stories and inspired by Castaneda's German therapist, I attended several sessions that were used extreme methods. At first it gave me a new perspective on my creative work.
<br / >I met Dr. Richard Jensen (Dr. Richard Yensen), who was engaged in official studies in Baltimore. In the process of his work he developed the methods of achieving the psychedelic sensations with the help of audiovisual stimulation and breathing techniques, without the use of drugs.
<br / >I was very impressed with his slide show with the use of technology and the influx of up to eight slide projectors. Inspired by his work I extended my Studio with up to 6 spotlights, and my electronics have developed control point to control the projectors directly from a computer. Thus, I could sync visual show with music. One of the first "multimedia" works, as it was then called, was "Living structures"; it was a collage of slides from around the world on the theme beauty of nature, different religions, urban poverty and the destruction of man. I firmly believe that art can change the world.
<br / >It was a time of radio and television interviews. Effortlessly I signed a contract with IC/Digit Music, the company producing the CD, working together with DA Music. In 1990 was released my first CD "Machine brain" ("Brain-Machine").
br><img src="/audiostrobe/pic/cd_brain_1.jpg" alt="Album "Machine Brain"" border="1">
<font size="-1">the Album "Machine Brain". You can buy this CD on <a href="http://www.mindmachine.ru/audiostrobe/" ... </a></font>
<br / >the CD sold thousands of copies. From time to time I participated in joint projects with other musicians. As an expert on the technology of Hemi-sync, I received many invitations to conduct seminars. In my Studio I created a small laboratory of biological feedback EEG and mind machines.
<br / >But experiments with "extreme forms" of feelings was devastating. I realized that this was the path blindly, in deep space, far from the solid ground under my feet. The culmination was that my wife went to my internist, who at the time was my teacher. Few years it took me to recover from the shock. Here I want to thank Richard Jensen and his wife Donna, who supported me in those difficult times.
<br / >nevertheless, the negative experience has positive aspects. I left therapy in General and the therapeutic community of new time in General, not shifting more of their blind idealistic beliefs. I retired and could not and did not want to hold any classes. But even in times of personal crisis, I continued the creative activity.
<br / >As a reflection of the period I implemented the project "Requiem".
br><img src="/audiostrobe/pic/cd_requiem_1.jpg" alt="Album "Requiem"">
<font size="-1">the Album "Requiem". You can buy this CD on <a href="EN/audiostrobe/%22%3Emindmachine.EN/audiostrobe/%3C/a%3E%3C/font">http://www.mindmachine.ru/audiostrobe/" ... </a></font>
<br / >My dad brought me a diskette containing the measurements of light emitted by a culture of dying yeast cells. After some mathematical calculations, I handed over the digitized data to the synthesizer and recorded the entire session. A few weeks later I was invited from Poland academic choir and during the week of improvisations recorded enough material for mixing.
<br / >It was one of my dark and deep songs. Along with a visual composition using six slide projectors and Quad technology, the song was performed many times. The result was the invitation to the international Festival of Audio Art in Cracow and in "Genetic Forum", organized by German State Radio.
br><b>the bridge between art and science</b>
<br / >After my removal from the scene of the New Century, as, at least, I thought, although it was mentioned in one of the academic manuscripts about experimental music of the New Century, I suddenly found myself in no man's land.
<br / >For "academic" art, I was too "commercial" for the New Century – too experimental and scientific. And for the scientific community I was just a slippery artist. Except for some people who themselves did not want to accept the only option attitude to life, seeing the world in a much more complex variety of forms.
<br / > One such person was Professor Popp (Popp). When I lost my audience and my buyers, I asked him to take me to work in his laboratory and was very excited when I heard about his new exciting research project. Some types of algae emit light flashes at regular intervals of time. Two photomultiplier recorded the activity of the two cultures of algae. In the experiment, it was possible to fix the beginning and end of the visible contact between these cultures.
<br / >My task was to identify, through mathematical transformations (fast Fourier transform + correlation) data for programming the process. Unfortunately, the project had to close due to financial problems, after a year of programming and experiments. Once a week, during this time, I spent several hours in the lab, with headphones on his head listening to the algae, doing programming. In between work, I talked with scientists from around the world. Working in this environment has revived my interest in science and love of mathematics.
<br / >I have refreshed and expanded their knowledge in programming and mathematics through distance increased the course computer science. Then I went to the SAE Institute (School of Audio Engineering) in Zurich to expand knowledge in the field of multimedia, now in the interactive sense of the word. But first I'm going back to the early 1990s, my commercial art projects.
br> <font size="+2">Audiostrobe (AudioStrob)</font>
<br / >In the late nineties I became interested in the technology of light and sound, and even my company sold a simple L/S (light and sound) interface for PC and Atari, which was used in the research projects of the Swiss Institute of Technology in Zurich. All the time I spent doing sync sound track and lights. The first experiment to achieve synchronicity was the division of players into four audio tracks, but the results were not entirely satisfactory.
<br / >After the release of my second CD "Living structures" which combined a fractal structure and technology of Hemi-sync, I realized that this method is perfect for encoding additional information necessary to control the light.
br><img src="/audiostrobe/pic/cd_living_1.jpg" alt="Album "Live"structures">
<font size="-1">the Album "Living structures". You can buy this CD on <a href="http://www.mindmachine.ru/audiostrobe/" ... </a></font>

<br / >I called the system Audiostrobe (AudioStrob) and in 1992 sent a patent application and assignment of trademarks. In the same year was released the first audiostrobe CD "fractal Dance", recorded with the participation of the invited actors and singers.
br><img src="/audiostrobe/pic/cd_fractal_1.jpg" alt="the Album "fractal Dance"">
<font size="-1">the Album "fractal Dance". You can buy this CD on <a href="http://www.mindmachine.ru/audiostrobe/" ... </a></font>

<br / > This CD ushered in a change in the music lab of Tamas. In addition to fractal and algorithmic compositions here were the tracks recorded and arranged in a "classical" style.
<br / >the Next CD "Light from the ancient dreams" and "Double scenario" has continued this trend, was completed and the CD "Children of the Universe".
br><img src="/audiostrobe/pic/cd_lights_1.jpg" alt="the Lights from the ancient dreams"><img src="/audiostrobe/pic/cd_doubling_1.jpg" alt="Double scenario" hspace="5"><img src="/audiostrobe/pic/cd_children_1.jpg" alt="Children of the Universe">
<br / > I went back to algorithmic composition for a new project called "Northern lights".
br><img src="/audiostrobe/pic/cd_polar_1.jpg">
<font size="-1">the Album "Northern lights". You can buy this CD on <a href="http://www.mindmachine.ru/audiostrobe/" ... </a></font>
<br / >These and my other drives have already been coded according to the technology Audiostrobe. Today Audiostrobe is the industry standard for encoding CD, and AS (audiostrobe) decoder is used in many L/S (light and sound) machines.
<br / >In my understanding of the development of Audiostrobe was an attempt to get closer to the synesthetic sensations, mainly through human consciousness (go to the <a href="http://www.audiostrobe.com/">www.audiostrobe.com</a>).
<br / >Today the system Audiostrobe for me as an adult child who has become a life of its own. Now I, along with one Czech programmer working on creating a convenient version of the program coding for the PC. To date, 50-60 released my CD was coded according to the technology adopted for computers manufactured by NeXT.
br><img src="/audiostrobe/pic/slawinski/coldcd.jpg">
<br / >Technology Audiostrobe – my main achievement in business. I've presented it in many exhibitions in Austria, Germany and Sweden.
<br / >I was aware that the light patterns on the CD is static. Recorded on the master disk, they are not subject to changes. I expanded my original patent interactive version of Audiostrobe, designed for use in the technology of biofeedback.
br><font size="+2">biofeedback and multimedia</font>
<br / >Department of my company engaged in biofeedback, started in 1992 with a Polish electronic engineer and German programmer. We released several machines with TV display EEG / GRK / pulse (<em>note: GRK - galvanic reaction of the skin</em>) and the appropriate software. Today two of our only available tool. I am now developing new modules in the field of biological feedback with the use of multimedia technology.
<br / >One of the main reasons I took the course Director of Multimedia at the SAE Institute, was my frustration software biofeedback devices that we had. It was time to get the program for audio and visual applications using C++ as programming language. My idea was that the core of the program responsible for communications and statistical functions are quickly programmed codes C++ using one of the authoring multimedia platforms.
<br / >This strategy paid off and a year later, I presented my first multimedia modules biofeedback <a href="http://www.mindmachine.ru/mental_games.htm">"Mental games"</a> as a diploma work at SAE. Now this software comes in USA, UK and other European countries.
br><img src="/pic/mental_games/MindReflection1.jpg">
<img src="/pic/mental_games/MindReflection2.jpg">
<font size="-1">the Mental game. Can be purchased at <a href="http://www.mindmachine.ru/audiostrobe/" ... </a></font>
<br / >meanwhile, I organized another company VERIM together with his former client Dr. Klockner (Dr. Klockner) from the University in Constanta. Now we conduct classes and seminars for employees of the management of the sports and energy sectors.
br><img src="/audiostrobe/pic/slawinski/MILIA3.jpg" hspace="5"><img src="/audiostrobe/pic/slawinski/MILIA1.jpg">
<font size="-1">Presentation "Mental games"</font>

<br / >In the modules biofeedback VERIM used network technology, and some of our solutions are still in development.
<br / >as this is my current development, I have not so much retrospective thoughts on the topic as visions and plans for the future. Some of them will be presented in my final work for the British Academy (BA) in the field of multimedia.
<br>Education and programming in the field of multimedia was the main activity of which I had devoted myself in the last two years. I feel that my musical and audio visual works receded into the background.
<br / >I only wrote a few plays and created some new graphic works. Of course, work on "Mental game" and the project VERIM – creative work. And yet I miss real creativity.
<br / >a Few weeks ago I spent two days, reviving the idea of applying the new possibilities of multimedia interactivity to fractal music. The work had to be suspended because the first results are so overwhelmed me that I realized now is not the time for intense continue. I plan to combine this project with the already available system generation Quad sound with the video frames.
<br / > It reminds me somehow of my dream that I had back in Poland, is to visualize the 9 th Symphony of Beethoven. Although this idea is worthy of our time, I hope it's the eve of my future activities, perhaps related to the theme of psycho-interactivity.
<br / >Sometimes, when I look at the starry sky, I wonder how much of what I dreamed was possible. And I admit myself that a lot of this is already beyond my expectations. Is it really so? A few days ago, finishing a project application for another patent which I had prepared for her agent, I stumbled on a file with my poem written 16-17. It was called "Thoughts". That's the part that caught my eye:
<br / >‘...
- Communication,
The connection between people
Vibration, visible in sound
In colors and in feelings.
Feeling enveloped and United
- As strands in the web
And the souls of all men merged together'".
<br / >Thanks for read my story.
br><font face="Geneva, Arial, Helvetica, sans-serif"><img src="/audiostrobe/pic/slawinski/andrzej3.jpg" alt="Andrzej slawinski"><br>
Andrzej Slavinskoye</font>
<font size="-1">translation of an interview in Russian language: Nikonov Vladimir</font>
<a href="/"><font size="-1">www.mindmachine.ru</font></a>[/html]<

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Ослик ИА-ИА
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Re: Interview with Andrzej Slavinskoye - author AudioStrobe

Post by Ослик ИА-ИА » Fri Oct 07, 2011 16:56

It was interesting to read.

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