Painting the sound with my PukuInstrument - Part 2 - AI Desings - 2025 by @nahupuku

Pintando el sonido con mi PukuInstrumento (Batería)

Hi to all, my name its Nahu Padilla, @nahupuku and this time Im going to show you some new cool art that I made with the sound, my drumset and a computer program that I made in Python, I wxplain that process in part 1 post, link below.

I have always loved the look of skulls and extreme metal, battlefields with medieval skulls after the war and the art of horror and dark. This time I tried out some art with Artificial Intelligence which I don't use much, but I used as a base these designs of mine, to see how they looked and it turned out something really interesting. There is still a part three of art that I will start tomorrow with several of these works printed on Glasse paper.

AI Site:

https://dream.ai/create

https://www.tiktok.com/@nahupuku/photo/7478523797390380293

Behind the scenes + Prompt:

Prompt: Extreme black metal black red madmax rock deathmetal skull gothic + Week and Normal Adjust influence + Dreamland v3 Art Style.

Masters:

obra f.jpg

I use Photoshop too for modify some aditional details and Mirror Lab app too:

Final Artworks:

_storage_emulated_0_Pictures_comica_comica1741356346011.jpg

Part 1:

https://peakd.com/hive-158694/@nahupuku/painting-the-sound-with-my-pukuinstrument-homemade-drumset-2025-by-nahupuku

The artist, Nahu Padilla (@nahupuku), presents an artistic process in this new video that combines music and technology to create a multimedia artwork.

obras new.png

Glitch Lab, Mirror Lab, 8 Bit app, Photoshop, Python.

My Quest to Paint Sound

For over two decades, my creative work has revolved around the intersection of music, visual art, and technology. Inspired by key figures such as Yevgeny Murzin, Alexander Scriabin, Andrei Tarkovsky, and Alexander Zolotov, I have explored how sound can be materialized into visual and plastic forms, creating a multimedia experience that transcends disciplinary boundaries. However, my most recent research represents a significant shift in this process: I now focus on "painting sound" using the percussive rhythm of the drum set as a starting point.

This new approach stems from my fascination with the drum set's ability to modulate intensities, frequencies, and sonic textures. Through digital tools like Phonopaper, developed by Alexander Zolotov, I have managed to translate drum hits into printable visual codes, which act as intermediaries between the auditory and the tangible. These codes not only capture the essence of percussive sound but also become canvases for manual plastic interventions, allowing me to reinterpret them through mixed techniques such as painting, collage, and sculpture.

For me, this experiment is not just an extension of my previous research but a reinvention of it. By working with the drum set, I discover new dimensions of rhythm and its potential to generate dynamic visual forms. Each drum hit not only produces a sound but also a visual event that can be captured, transformed, and reinterpreted. This process allows me to explore the relationship between time, space, and materiality, establishing a profound dialogue between the ephemeral nature of sound and the permanence of the image.

In this art manifesto, I share my methodology, theoretical reflections, and practical findings, with the hope of inspiring other artists, musicians, and technologists to embark on their own interdisciplinary explorations. This project not only pays homage to the legacy of pioneers in experimental art but also expands their ideas toward new forms of artistic expression in the 21st century.

Sound as Plastic Matter

In the interdisciplinary realm of contemporary arts, the relationship between the auditory and the visual has been explored from multiple perspectives, ranging from the pioneering investigations of Alexander Scriabin on musical synesthesia to the technological advancements of the ANS synthesizer developed by Yevgeny Murzin. However, my current proposal expands these ideas into uncharted territory: the transformation of percussive sound from the drum set into tangible visual forms through the integration of digital codes and experimental painting techniques. This project not only redefines the notion of "painting sound" but also establishes a profound dialogue between rhythm, technology, and plastic materiality.

My homemade drum set, as a primarily rhythmic instrument, becomes the core of this investigation. Through its ability to modulate intensities, frequencies, and sonic textures, I propose a methodology that translates these elements into dynamic visual patterns, which can be manually intervened upon or automated through digital tools. This approach not only pays homage to the historical legacy of figures such as Murzin, Scriabin, Andrei Tarkovsky, and Alexander Zolotov but also extends their ideas toward new forms of artistic expression in the 21st century.

The Theoretical Framework: From Percussion to Visual Code

The starting point of this experiment is the premise that sound can be broken down, analyzed, and reconstructed as plastic matter. Drawing inspiration from the work of Yevgeny Murzin, who revolutionized musical creation by converting printed images into sounds, I adapt this idea to the percussive context of the drum set. By using tools like Phonopaper, I transform drum hits into printable visual codes, which act as intermediaries between the auditory and the tangible.

This process of sonic translation is not merely technical; it is an artistic intervention that seeks to reveal the internal structure of rhythm. Each drum hit generates a unique pattern that reflects its intensity, duration, and frequency. Once materialized as visual codes, these patterns become canvases for plastic intervention. Through mixed techniques such as painting, collage, and sculpture, I reinterpret these codes, giving them a new aesthetic and conceptual dimension.

The Drum Set as a Generative Instrument

The choice of the drum set as a sound source is not arbitrary. As a percussive instrument, the drum set possesses a unique quality: its capacity to modulate time and space through rhythm. In my experiments, each strike of the drum set not only produces a sound but also a visual event that can be captured and transformed. This dualism between the auditory and the visual resonates with the ideas of Andrei Tarkovsky, who conceived art as an act of "sculpting time." By working with visual codes generated by the sound of the drum set, I materialize immortalized fragments of time, allowing each strike to become a permanent imprint on the canvas.

Furthermore, the polyrhythmic nature of the drum set introduces an additional layer of complexity to the process. The different timbres and frequencies produced by each element of the drum set (snare, bass drum, cymbals, etc.) generate distinctive visual patterns, which can be interpreted as metaphors for rhythmic diversity. This multiplicity of visual forms reflects the richness of percussive language, establishing a bridge between the abstract and the concrete.

The Integration of the Digital and the Tangible

One of the most innovative aspects of this project is the convergence between the digital and the tangible. Technological tools like Phonopaper and custom Python scripts allow for the automatic translation of sound into visual codes. However, the process does not end here. Once generated, these codes are manually intervened through traditional plastic techniques, creating a dialogue between the analog and the digital.

This duality reflects a central creative tension in my work: the search for balance between algorithmic precision and artisanal spontaneity. By combining these two dimensions, I propose a new way of understanding artistic creation, where technology does not replace the artist but amplifies their expressive possibilities.

Toward a New Aesthetic of Sound

This experiment of "painting sound" with the drum set represents a significant evolution in my artistic trajectory. By fusing percussive rhythm with the generation of visual codes and their subsequent plastic intervention, I create a system that transcends disciplinary boundaries, connecting music, visual art, and technology in a unified process.

Inspired by the ideas of Murzin, Scriabin, Tarkovsky, and Zolotov, I propose a new aesthetic of sound, where each drum hit becomes a multimedia artwork. This approach not only pays homage to the pioneers of experimental art but also opens new possibilities for artistic creation in the 21st century. By materializing sound into visual and plastic forms, I invite the viewer to reflect on the ephemeral nature of time and the permanence of memory, exploring the boundaries between the audible, the visible, and the tangible.

A Call to Experimentation

Finally, this manifesto is not intended as a definitive conclusion but as an open invitation to experimentation. In my artistic practice, I have developed a program in Python that uses sound captured by a microphone to generate real-time visual strokes. By pressing the left mouse button, the program translates sound into dynamic visual art. By sharing this process, I aim to inspire other artists, musicians, and technologists to explore the connections between sound and image, rhythm and form, the digital and the analog. Together, we can continue to expand the boundaries of what is possible, creating new narratives that celebrate the intersection of disciplines and the infinite creativity of humanity.