1.3. Different types of readings in P1

Chart 4There are many types of readings and depending on each the information extracted from P1 will differ as well. The reading of colours would be the easiest. An area of P1 can be framed selecting a determinate number of colours and taking an initial and final positions X and Y, those points whose colours correspond with those selected will be taken, and the rest rejected. This information is transferred to P2 from an initial point (X) previously chosen by us. This system only stores the points of P1 (which become heights in P2) whose colours have been called, and in this way when the system reads, lets imagine that in the first line of P1 there is an empty point or a non-selected colour point, it looks for the immediate position of Y, in this case Y2, to see if there is another selected point; if that is not the case, it will look for the next, Y3, and so on and so forth. When a selected point appears, it will be transferred to P2 in the form of height and in the corresponding order from the point X and from the first of the voices which make up the previous selection of the same. The non desired material should not be transferred to P2 as empty points. Thus a large amount of space is saved and material from P1 can be condensed in a few voices of P2 (see chart 4)

There is a possibility of effecting a transposition when transferring the information in such a way that we can select from P1 the material that we desire without caring about the ‘actual height’ in which it is found. There are, as well, tools for compressing into a tessitura in such a way as to ‘make space’ for the selection within an instrument’s range, within the global tessitura of the material we are working with, or within a determinate that interests us. From selections of scant range in P1 we can obtain, by means of expansions of the range in P2, magnificent results by stretching the structure; the opposite effect is also feasible.



Chart 5The reading of outlines is similar to that of colours. As we have mentioned above , this type of material is ideal for filiforme lines (see chart 5).We can obtain magnificent results playing with selected colours, voices and outlines. Though many times we will not succeed in taking with us what we want, hence some tools have been designed for that purpose such as ‘lines of exclusion’: Once colours have been selected, and the initial and end points of the copy from P1 established, we can cut out a determinate working area, excluding corners that we are not interested in. The reading of the copy can be top down, or bottom up (depending on our wishes).The cutting out allows us to enter into structures that interests us, while rejecting others in the initially selected rectangle. Depending on how we make the copy either from the bottom up or from the top down the results will be very different. This kind of transfer procedure brings about a union between notes repeated in the same voice and of the same colour (from the same origin), and as a result notes of different duration are produced (see chart 6, figures 1 and 2).


1.3.3. Heights-Colours-->Structure // Heights-Outlines-->Structure

Chart 6Another very different kind of reading would be to make a line for line transference from P1 to P2. Let’s assume that the first line in P1 (the highest-pitched note) sustains the same note in spite of the fact that it is composed of different colours; this is transferred for instance to voice 5 in P2. The result is one only note with different durations (remember that those of the same colour are added together, throughout the same voice. This type of transference can be very useful exclusively for architectural procedures (delimitations of outlines according to colour or else ‘empty structures). This reading procedure can be accomplished by means of the colours or by means of the outlines, the results being completely different. As we have seen in previous reading procedures by means of simple tools, a small register from P1 can be turned into a larger and more complex structure, and it works conversely as well, that is to say, we can start with a large structure from P1 and then flatten and shape it according to our needs. We should keep in mind that in the transfer procedure we can add or merge different colours and in this way produce distortions of the initial material.


1.3.4. Colour-->Height line for line

Another kind of reading is to give colour a height significance in addition to that of origin (material). It would be like looking at the image from above and seeing the different colours transformed into valleys and peaks (deep and high-pitched sounds), and it being the number of colour that confers height and not the position of Y. With this reading the results obtained are completely different to the former: it is remarkable to see how these images captured by this procedure are similar to those produced by sonograms with their different harmonic spectra.

As we can guess depending on the strategy used for the selection of voices, colours, outlines, combinations, cut outs and the other parameters mentioned, the results of the reading transference will be widely different. All these procedures lead to authentic vertigo and, in addition to experience with its manipulation, a high level of self-control is needed not to initate the work with ‘the whole’ and become victims of the material itself.