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Pollock Improvising on Debussy, 2010 + Debussy:Preludes, 1910-1913 Book II No.3: La puerta del Vino (The Wine Gate) In some aspect, Debussy and Pollock made a similar approach to music and painting. They both setup a novel freedom in gesture towards each medium making them floating without root, whether in texture, rhythm, color or the process. In these three preludes, Debussy progressed the note particles as if they were poured and dripped onto the aural canvas like Pollock did half a century later. Further, using the technology a century later to try bridging these two artists becomes an intriguing task. Through intricate coding instructions, the reactive system listens to the music and injects its digital gesture lively onto the projected canvas echoing the impression of those art pioneers. An ensemble experience is thus triggered between the system, the pianist and the performer holding a wireless iPad, tangling their physical fingers and virtual brushes. All these three very different preludes are reacted by one system with various parameters to evoke a sense from the drunken allurement, the mystic delicacy to a destructive force.
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