Elemental Counterpoint with Digital Imagery

Edward Zajec's work grapples with the illusive problem of structuring time-based color. In discussing his work CHROMAS, for example, he says:'to animate means to orchestrate the flow of color passages in time, rather than to choreograph the motion of objects in space'.

He bases his imagery on a static visual composition that allows him to concentrate on 'a dynamic part in which a composition is performed in a complex of color changes'.

His method of dimensional upgrades, borrowed from serial music techniques, provides a means of color control. Combining this with thematic dissolves ofstatic imagery, Zajec creates an elegant visual counterpoint in two parts.

Brian Evans

B. Evans: Elemental Counterpoint with Digital Imagery, Leonardo Music Journal, Vol.2, No. 1, pp. 13-18, 1992
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Prismiance:1982-84, Hardware: Ithaca Inter Systems CB 121 800 Microprocessor with a SCION Microangelo CS-5060 Color System, Software: CP/M OS and Pascal