Prismiance
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
