Laser Sound Performance (LSP] by Edwin van der Heide at Sonar2008.

On June 19, 20 and 21, Edwin van der Heide presented his “LSP”, a performance where image and sound play equally important roles. Sound / video combinations often reduce the spatial perception of sound because of the two-dimensional nature of the image. The performance “LSP” used audio controlled lasers to create a three-dimensional environment that totally immerses the audience and allows for a constant change of perspective. Image and sound originate from the same real-time computer generated sine wave composition. “LSP” represents a system of direct equivalence of image and sound, where frequency ratios in sound, de-tuning and phase shifts have their direct visual counterparts.

In 1815 Nathaniel Bowditch described a way to produce visual patterns by using a sine wave for the horizontal movement of a point and another sine wave for the vertical movement of that point. The shape of the patterns depends on the frequency and phase relationship of the sine waves. The patterns are known as Lissajous figures, or Bowditch curves.

“LSP” interprets Bowditch’s work as a possible starting point to develop relationships between sound and image. Since sine waves can also be used to produce pure (audible) tones, it is possible to construct a direct relationship between sound and image. Frequency ratios in sound, de-tuning and phase shifts can have a direct visual counterpart.

Although theoretically all sounds can be seen as sums of multiple sine waves, music in general is often too complex to result in interesting visual patterns. The research of “LSP” focuses on the subject of composing signals that have both a structural musical quality and a time-based structural visual quality. Different relationships between sound and image are used throughout both the performance and the installation form.

Edwin van der Heide studied Sonology at the Royal Conservatory, where he graduated in 1992. He is working as autonomous artist in the field of sound, space and interaction. His current work is hard to define in the traditional terms of music, sound art or media art because he is often working on the edge and the characteristics of the used medium. Over the years the focus of his work has shifted to sound installations, interactive installations and environments. The performance aspect is still present in part of the work but the emphasis has shifted to the content of the environment and less focus on the performer.