In 1962 Karlheinz Stockhausen’s “Concept of Unity in Electronic Music” introduced a connection between the parameters of intensity, duration, pitch, and timbre using an accelerating pulse train. In 1973 John Chowning discovered that complex audio spectra could be synthesized by increasing vibrato rates past 20Hz. In both cases the notion of increased speed to produce timbre was critical to discovery. Although both composers also utilized sound spatialization in their works, spatial parameters were not unified with their synthesis techniques. Spatial Modulation Synthesis is a novel, physically-based control paradigm for audio-visual synthesis, providing unified control of spatialization, timbre, and visual form using high-speed sound trajectories.

Kinetic v3 is the third study of Spatial Modulation Synthesis in the AlloSphere. Focusing on contrast between polyphonic audio-visual harmony and granular noise, spatial sound timbres and their visualized trajectory orbits immerse the listener to create this 5 minute work of visual music.