{"version":"1.0","provider_name":"Digicult | Digital Art, Design and Culture","provider_url":"https:\/\/digicult.it\/it","title":"Tonewheels: La Sintesi Ottica Del Suono &#8226; Digicult | Digital Art, Design and Culture","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"gaUwE3YNC9\"><a href=\"https:\/\/digicult.it\/it\/digimag\/issue-031\/tonewheels-sound-optical-synthesis\/\">Tonewheels: La Sintesi Ottica Del Suono<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/digicult.it\/it\/digimag\/issue-031\/tonewheels-sound-optical-synthesis\/embed\/#?secret=gaUwE3YNC9\" width=\"600\" height=\"338\" title=\"&#8220;Tonewheels: La Sintesi Ottica Del Suono&#8221; &#8212; Digicult | Digital Art, Design and Culture\" data-secret=\"gaUwE3YNC9\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/digicult.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/digicult.it\/wp-content\/uploads\/2008\/01\/Tonewheels.jpg","thumbnail_width":280,"thumbnail_height":210,"description":"[:en]The history of cinema and of visual arts is rich with moments in which visionary directors take their work into hybrid directions where physics, science, technology and music intersect. Chromatic futurist music, the abstract animations of people like Ruttman, Eggelin and Fischinger, the many visual music experiments of the beginning of the nineteenth century can be seen as the forerunners of contemporary forms of digital audio-visual interaction. [:it]La storia del cinema e delle arti visive \u008f disseminata di momenti nei quali autori geniali si avventurarono con il loro lavoro in percorsi ibridi a cavallo tra fisica, scienza, tecnologia e musica. \u00e9 facile riconoscere nella musica cromatica futurista, nelle animazioni astratte di autori come Ruttman, Eggelin e Fischinger, nei molti esperimenti di musica visiva di inizio novecento, i presupposti delle attuali forme di interazione audio-video digitale. [:]"}