3 tracks / 42 min / 2012.
A series of audiovisual compositions using time-lapse photos and computer-generated noise to represent landscapes and weather events.
RGB color data from the photographs are converted into filtered brown, white, and pink noise using GraphicConverter and the programming environment SuperCollider. A touch of postproduction is done with an FMR Really Nice Compressor and a Moog MF-101 Lowpass Filter. Sound selections and data mapping choices are crafted to evoke the place and experience in the photographs.
Brown Noise / Sand (2005/2012)

A single digital photograph of a rock on the beach, taken on Block Island, RI, ca. March 2005; reduced in size to 40×30 pixels. RGB color data from each pixel are used to shape a granular synth that processes and filters a segment of brown noise. Pixel data are read left to right and top to bottom across the image, with resulting sounds randomly panned in stereo. A small area of sand is expanded to 16 minutes of granulated brown noise.
White Noise / Snowstorm (2008)

Time-lapse digital photographs, 1 per second for 10 seconds, taken from a window during a snowstorm on Ile-des-Soeurs, Québec, 10 Dec 2008. Images are reduced in size to 20×15 pixels. RGB color data from each pixel are converted to filtered white noise, reading left to right and top to bottom across each image, with resulting sounds randomly panned in stereo. 10 seconds of snow are expanded to 10 minutes of white noise.
Pink Noise / River Breeze (2009)

Time-lapse digital photographs, 1 per second for 10 seconds, of a tree by the river on a windy day, Ile-des-Soeurs, Québec, 21 May 2009. Images are reduced in size to 20×15 pixels. RGB color data from each pixel are converted to filtered pink noise, reading left to right and top to bottom across each image, with resulting sounds randomly panned in stereo. 10 seconds of breeze are expanded to 40 minutes of pink noise (16-min excerpt on the recording).
Images of White Noise/Snowstorm and Pink Noise/River Breeze installed at Stamp Gallery, University of Maryland, August 2012, part of Tara Rodgers’s solo exhibition: Patterns of Movement: Data and Sound Works, 2005-12.

