Foundations of a Visual Music

Evans, Brian

doi:10.1162/014892605775179955

Cited by 36 publications

(20 citation statements)

References 5 publications

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“…While the outcomes may initially seem to fit the area of 'visual music', the approaches taken fit the range of those used by 'visual music artists', (DeWitt 1987, Dannenberg 2005, Evans 2005, Jones and Nevile 2005 where an intuitive interpretation is made and implemented, often through the paradigms of musical composition, and approaches to data interpretation (Lodha, Beahan et al 1997, de Campo 2007, Park, Kim et al 2010, Alsop and Giles 2015 are equally used. By Burke and Alsop first individually developing works that lean towards these two poles, by finally blending these approaches and works it is seen that new works, which demonstrate more than the sum of their parts, will be created.…”

Section: Resultsmentioning

confidence: 99%

A Fractured Earth - Sonification and Spatialisation of Seismic Data With Max:msp and Speaker Motion

Dunham¹,

Johnson²

2020

Preprint

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This paper provides an overview of a Max/MSP patch that sonifies seismic data and the use of spatialisation to explore the resulting soundscape. The background to the development of the patch and spatialisation techniques are discussed and a brief overview of the implementation of the patch is provided with contexts for its use. Spatialisation is explored with the use of a new mechatronic speaker system and its use in a live performance. Finally, the paper considers future development of the system.

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Section: Resultsmentioning

confidence: 99%

A Fractured Earth - Sonification and Spatialisation of Seismic Data With Max:msp and Speaker Motion

Dunham¹,

Johnson²

2020

Preprint

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“…In view of its past and present incarnations, we can say that visual music indicates a form of art in which the combination of moving imagery and sound establishes a temporal architecture in a way similar to absolute music (Evans 2005) both through the articulation of the ‘visual things themselves’ and the ‘musical things themselves’, and through the interaction and interplay between them (McDonnell 2010). Our definition of visual music will typically consider works that are non-narrative 1 but not necessarily non-representational.…”

Section: Visual Music: a Working Titlementioning

confidence: 99%

From Sonic Art to Visual Music: Divergences, convergences, intersections

Garro

2012

Org. Sound

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This paper introduces strategies for the electroacoustic community to relate to, and engage with, the visual music phenomenon. It addresses technological, historical, cultural and idiomatic intersections between the two art forms. From the personal viewpoint of a trained synaesthete of acousmatic origin, the boundaries between sonic and audiovisual compositional practices appear somewhat porous. The electroacoustic language is intrinsically visual, even within its acousmatic paradigm. Visible morphologies acquire a sonorous dimension as soon as we uproot them from their cinematographic habitat and plunge them into the cauldron of a new alchemy. Multi-disciplinary lines of enquiry are essential to elucidate the workings of complex multimediatic interactions such as those at play in visual music. Yet, a holistic view of the creative and technological pathways is equally significant so that artistic truths, and myths, can be (re)discovered amidst lines of code or loops of wire connecting our computer peripherals. Thus this article is written both with the language of an analyst and, perhaps more, with the expressions and idiosyncrasies of an academic composer. A few selected examples from the contemporary repertoire are discussed to exemplify a variety of approaches to visual music composition, including extracts from the work Patah (Garro 2010).

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“…However, there have been some attempts at a phenomenological mapping of visual material in these terms which do offer useful insights (Evans 2005;Garro 2005).…”

Section: Reduced Listeningmentioning

confidence: 99%

Musique Concrète Thinking in Visual Music Practice: Audiovisual silence and noise, reduced listening and visual suspension

Hyde

2012

Org. Sound

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Foundations of a Visual Music

Cited by 36 publications

References 5 publications

A Fractured Earth - Sonification and Spatialisation of Seismic Data With Max:msp and Speaker Motion

A Fractured Earth - Sonification and Spatialisation of Seismic Data With Max:msp and Speaker Motion

From Sonic Art to Visual Music: Divergences, convergences, intersections

Musique Concrète Thinking in Visual Music Practice: Audiovisual silence and noise, reduced listening and visual suspension

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