This paper will discuss an ongoing investigation into developing methodologies for composing new abstract visual music pieces. This practicebased research is historicised in relation to seminal artists whose works have helped to form the canon of visual music and composers, theorists and scientists whose work touches on the same problematic domain. This investigation highlights both the key seminal influences underpinning the new work and the innovations embodied within it. The methodologies developed through creating several visual music pieces over three years are carefully delineated, affording insights into key intersections of abstract visual music, the idea of synesthesia, and creating art that is less about the self and more about a shared experience.
This paper shares insights from integrating strategies for preservation and dissemination into my ephemeral, affective art installations. Fruitful tensions and fundamental questions arising from curating these experiences are discussed in the light of artistic practices, preserving for re-performing and active facilitation of the personal archives of others. Curation is reflected on in the light of practices that were disruptive to the art world, especially: Fluxus and the historical use of visual and auditory means of reproduction for producing new works. Curation can facilitate lensing artistic works in relation to how they can be shared with an audience. This sharing can encourage artistic processes being used by others, the work becoming a tool, even a framework. This suggests that creating pieces that show how they are made, turning spectators into participants, noting their feedback, their social interactions and how they record their own experiences of the installation are all ways of enhancing artistic practice.
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