IN. is proposed here that this is the thesis "Perceptual Correspondences of Abstract Animation and Synthetic Sound "(1988) with which Abbado has a Master of Science at the MIT Media Laboratory . Italian researcher, has extensively explored the expressive possibilities of audio-visual and although dated 1988, the thesis explores in a very current nature of the objects interacting sound and image. In addition to Media Arts, Abbado has studied electronic music composition at the Conservatory of Milan, has designed and wrote the software 'Ab strategic' , for the creation of abstract sequences, with whom he made the digital animation 'fluid' ; search for Abbado has always aimed at testing in digital audio-visual, taking forward the work of "correspondence" sound-image, and creating abstract images through the exploration of imaginary digital worlds. DIGITAL STILNOVO. Among other things, is to report the project 'Digital Stilnovo' , screening program for projects on digital media, presented at BizArt Art Center in December 2005. "The object that Abbado has followed for more than a decade and ' 
display of sound events that were related with cognitive research, which is widely applied also in courses on the psychology of perception. Samson Revisited Wonokromo and are the first with the sound without the other ascetic, both beautiful abstract digital animations [...] Digital Stilnovo and 'part intergrante Italian Experimental Cinema of a project that includes work in film, video and in digital media who look at potential 'of thought through different cinematic approaches and occasionally looking back to the origins of cinema when the potential' of the pickup device and the projection began to be investigated. "
display of sound events that were related with cognitive research, which is widely applied also in courses on the psychology of perception. Samson Revisited Wonokromo and are the first with the sound without the other ascetic, both beautiful abstract digital animations [...] Digital Stilnovo and 'part intergrante Italian Experimental Cinema of a project that includes work in film, video and in digital media who look at potential 'of thought through different cinematic approaches and occasionally looking back to the origins of cinema when the potential' of the pickup device and the projection began to be investigated. " WONOKROMO, 2004 - DVD, b / w, 6 '. "Wonokromo animation is abstract, an investigation into the visual noise divided into two sections. I created the first synthetic hair animation section and changing various parameters such as their thickness, the ricciosità, rigidity, severity, and more. The best sequences were assembled and then combined. The second section is more complex to create. As a first step I have mapped some types of noise 
chosen by me on a synthetic surface flat, and so I created several different sequences by changing the parameters of each sound. In this way I obtained 66 sequences of interest for me. I then combined all the footage and I have selected the best, creating a new tier of 116 sequences. This process was particularly long, since for every sequence have been tried all combinations with the others. In addition, each combination was tested using different transfer modes: Darken, Multiply, Linear Burn, color burn, add, lighten, screen, linear dodge, color dodge, overlay, soft light, hard light, vivid light, pin light, difference, exclusion . then again I chose the 60 most interesting results and I combined them together again, always trying too different transfer modes. I have derived as a second level of approximately 230 new sequences. At that point it was difficult for me to navigate through the Ulitmate animations produced. For this reason I decided to rank them and to create an archive containing 
different parameters for each sequence, ie the animation itself, its title, category, quality, durability, speed, density, and maximum overall brightness. The last two parameters, the overall brightness and maximum, were obtained by analyzing software on the first frame of each sequence. I got other parameters automatically, as the average intensity, contrast medium, the third time, the smoothness, uniformity and entropy. Although interesting, these parameters were then utilizzati.Questo process helped me choose each time the animation more appropriate to be included in the assembly of the second section, for which I chose 40 sequences by taking into account class, quality, density, and brightness globale.Una you finish all the animation, I analyzed its overall brightness and I decided to cut certain parts of the second section to improve the fluidity of the final. "(A. Abbado)
chosen by me on a synthetic surface flat, and so I created several different sequences by changing the parameters of each sound. In this way I obtained 66 sequences of interest for me. I then combined all the footage and I have selected the best, creating a new tier of 116 sequences. This process was particularly long, since for every sequence have been tried all combinations with the others. In addition, each combination was tested using different transfer modes: Darken, Multiply, Linear Burn, color burn, add, lighten, screen, linear dodge, color dodge, overlay, soft light, hard light, vivid light, pin light, difference, exclusion . then again I chose the 60 most interesting results and I combined them together again, always trying too different transfer modes. I have derived as a second level of approximately 230 new sequences. At that point it was difficult for me to navigate through the Ulitmate animations produced. For this reason I decided to rank them and to create an archive containing 
different parameters for each sequence, ie the animation itself, its title, category, quality, durability, speed, density, and maximum overall brightness. The last two parameters, the overall brightness and maximum, were obtained by analyzing software on the first frame of each sequence. I got other parameters automatically, as the average intensity, contrast medium, the third time, the smoothness, uniformity and entropy. Although interesting, these parameters were then utilizzati.Questo process helped me choose each time the animation more appropriate to be included in the assembly of the second section, for which I chose 40 sequences by taking into account class, quality, density, and brightness globale.Una you finish all the animation, I analyzed its overall brightness and I decided to cut certain parts of the second section to improve the fluidity of the final. "(A. Abbado) SAMSON REVISITED, 2003 - DVD, color, music by Dino Ghezzo, 9 '. An animation commissioned by the composer Dino Ghezzo for a performance that was held at Merkin Concert Hall 
, New York. In the words of Dino Ghezzo, the piece is un'estenzione of music written for Samson Agonistes by John Milton, for a commission of the theater company of Nancy Bogen. It was written with an eye the musical styles of the time Milton amalgamated with the electronic arsenal today. Samson Revisited, is my vision of a combination of the late Renaissance and early Baroque music is running through the mind and the ear of a composer of the twentieth or twenty-first century "(A. Abbado)
, New York. In the words of Dino Ghezzo, the piece is un'estenzione of music written for Samson Agonistes by John Milton, for a commission of the theater company of Nancy Bogen. It was written with an eye the musical styles of the time Milton amalgamated with the electronic arsenal today. Samson Revisited, is my vision of a combination of the late Renaissance and early Baroque music is running through the mind and the ear of a composer of the twentieth or twenty-first century "(A. Abbado) Perceptual Correspondences ABSTRACT OF ANIMATION AND SOUND SYNTHTEIC. STAMP, AND SUMMARY ANALYSIS: NEW ARCHITECTURE AUDIO VISUAL AND CORRESPONDENCE. "A sound can be thought of as a" sound object ", something that can be complex, but has a distinct identity. This identity is defined by the spectrum of sound, his energy. Similarly, the visual events can also be considered as independent objects. The form and type of surface define the identity of a visual object. The stamp in the sound field and shape attributes to surface in the images are the most powerful audio-visual perception of objects. Their correspondence would, in my opinion, form the basis of a new audiovisual language. 
With these words begins the 2nd chapter Attributes stamp / form-surface ". Abbado This part examines the role of the stamp in the Western and Eastern musical traditions: the first is whether fondamentalmente basata sull'altezza dei suoni ed il ritmo, nella seconda il timbro ha sempre avuto un ruolo di pari importanza rispetto agli altri elementi. E' infatti nel '900 che il timbro ha cominciato ad acquisire una sua specifica importanza all'interno della gestione compositiva, grazie al contributo di Arnold Schönberg, il quale coniò il termine 'Klangfarbenmelodie' (melodie di timbri). Schönberg scrisse: "Penso che il suono riveli sé stesso per mezzo del timbro e che l'altezza non sia che una dimensione del timbro. Il timbro è quindi il tutto, l'altezza è parte di questo tutto, o meglio, l'altezza non è altro che il timbro misurato solo in una dimensione" (A. Schönberg, "Manuale Harmony "). Besides Schoenberg's Edgar Varèse, who piloted within the noise and dissonance, was the first to create compositions based entirely on the stamp. And 'through these paths that the stamp becomes one of major areas of research in contemporary music and the revolution of computers and computer music is entering a new era: in addition to the infinite possibilities determined by the synthesis of new sounds, dramatically increasing the number of sounds available to the composer, then it becomes possible control of the stamp previously unimaginable through sound analysis and synthesis, allowing them to articulate the compositions on the basis of tonal variation instead of height. It is this control over the timbre of computational matrix that might lead to new structures and architectures of sound. The complexity of the new stamps can not be managed and analyzed as to the stamps of the past and the visual representation intervenes to help in the analysis, managing the organization of musical composition (the project "Dynamics of Abbado is just part of this path between the synthetic sound and timbre, investigating the possibilities of visual language connected to 
composition based on the stamp instead of height). In the area of \u200b\u200bthe visual, if the shape is probably the attribute that best defines an object, this alone can not cover però la complessità percettiva e la ricchezza dei timbri. Si rende quindi necessario l'impiego di altre proprietà, quali il colore, l'illuminazione, la variazione di riflessione speculare della superficie, in modo da aggiungere espressivistà ad un oggetto visivo rappresentante un timbro. Il processo di associazione di una forma a un timbro richiede anche una corrispondenza tra gli attributi che si mettono in relazione, entrando così nel campo della soggettività (ad esempio: suoni armonici-forme morbide, suoni inarmoci-forme spigolose). A questo punto viene in aiuto Vasilij Vasil'evič Kandinskij, che in "Lo Spirituale nell'Arte" ("Concerning the Spiritual in Art") scrive: "In genere i colori pungenti sono adatti for cutting shapes (like a yellow triangle), and the soft colors and shapes are suitable for deep round (like a blue circle) [...]. The yellow, if looked firmly in each geometric shape has an influence of noise, color and reveals a persistent and aggressive nature "(Kandinsky," Concerning the Spiritual in Art "). Because of the subjectivity of the criteria is its extremely complex suggests a formalization and automation of the process of matching items auditory and visual objects, coming into play a multitude of factors of uncertainty, such as intuition or psychic legacy (subconscious) of each. If automatization of this process is difficult , it is true that a strict matching method is likely to lead to a drift mechanism, which limits the creative process, with an inevitable reflected in the finished project.
With these words begins the 2nd chapter Attributes stamp / form-surface ". Abbado This part examines the role of the stamp in the Western and Eastern musical traditions: the first is whether fondamentalmente basata sull'altezza dei suoni ed il ritmo, nella seconda il timbro ha sempre avuto un ruolo di pari importanza rispetto agli altri elementi. E' infatti nel '900 che il timbro ha cominciato ad acquisire una sua specifica importanza all'interno della gestione compositiva, grazie al contributo di Arnold Schönberg, il quale coniò il termine 'Klangfarbenmelodie' (melodie di timbri). Schönberg scrisse: "Penso che il suono riveli sé stesso per mezzo del timbro e che l'altezza non sia che una dimensione del timbro. Il timbro è quindi il tutto, l'altezza è parte di questo tutto, o meglio, l'altezza non è altro che il timbro misurato solo in una dimensione" (A. Schönberg, "Manuale Harmony "). Besides Schoenberg's Edgar Varèse, who piloted within the noise and dissonance, was the first to create compositions based entirely on the stamp. And 'through these paths that the stamp becomes one of major areas of research in contemporary music and the revolution of computers and computer music is entering a new era: in addition to the infinite possibilities determined by the synthesis of new sounds, dramatically increasing the number of sounds available to the composer, then it becomes possible control of the stamp previously unimaginable through sound analysis and synthesis, allowing them to articulate the compositions on the basis of tonal variation instead of height. It is this control over the timbre of computational matrix that might lead to new structures and architectures of sound. The complexity of the new stamps can not be managed and analyzed as to the stamps of the past and the visual representation intervenes to help in the analysis, managing the organization of musical composition (the project "Dynamics of Abbado is just part of this path between the synthetic sound and timbre, investigating the possibilities of visual language connected to 
composition based on the stamp instead of height). In the area of \u200b\u200bthe visual, if the shape is probably the attribute that best defines an object, this alone can not cover però la complessità percettiva e la ricchezza dei timbri. Si rende quindi necessario l'impiego di altre proprietà, quali il colore, l'illuminazione, la variazione di riflessione speculare della superficie, in modo da aggiungere espressivistà ad un oggetto visivo rappresentante un timbro. Il processo di associazione di una forma a un timbro richiede anche una corrispondenza tra gli attributi che si mettono in relazione, entrando così nel campo della soggettività (ad esempio: suoni armonici-forme morbide, suoni inarmoci-forme spigolose). A questo punto viene in aiuto Vasilij Vasil'evič Kandinskij, che in "Lo Spirituale nell'Arte" ("Concerning the Spiritual in Art") scrive: "In genere i colori pungenti sono adatti for cutting shapes (like a yellow triangle), and the soft colors and shapes are suitable for deep round (like a blue circle) [...]. The yellow, if looked firmly in each geometric shape has an influence of noise, color and reveals a persistent and aggressive nature "(Kandinsky," Concerning the Spiritual in Art "). Because of the subjectivity of the criteria is its extremely complex suggests a formalization and automation of the process of matching items auditory and visual objects, coming into play a multitude of factors of uncertainty, such as intuition or psychic legacy (subconscious) of each. If automatization of this process is difficult , it is true that a strict matching method is likely to lead to a drift mechanism, which limits the creative process, with an inevitable reflected in the finished project. TEXTS: Perceptual Correspondences of Abstract Animation and Synthetic Sound , MIT Media Lab - Inglese. HERE ' the Italian version.
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