Interactive Visual Music

How can Visual Music be composed and presented in such an engaging way that it will turn spectators into participants? How to connect a youthful, twenty-first century audience who are keen to update their Instagram story with Visual Music? Visual Music is an art form, which is “an equal and meaningful synthesis of the visible and audible” (Lund & Lund 2009, p.149) and “is typically non-narrative and non-representational” (Evans 2005, p.11). Visual Music is often presented as cinema. Cinema audiences are generally considered to be passive spectators, whose “reactions are pre-programmed by the director, crew, cast and writer” (Mackintosh 2003, p.2). This paper highlights the nexus between, to use McCall’s (2004) terms ‘the cinematic, the sculptural and the pictorial’, with a focus on creating interactive Visual Music installations.

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Contributors

Julie Watkins

Conference

Publication date: July 2019

Publication date (Print): July 2019

Pages: 302-309

Affiliations

[0001]University of Greenwich

Stockwell Street, London,

SE10 9LS, UK

Article

DOI: 10.14236/ewic/EVA2019.58

SO-VID: d8f705f7-912a-4d42-80df-205ee35f31a3

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This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2019

Conference acronym: EVA 2019

Conference number:

Conference location: London, UK

Conference date: 8 - 11 July 2019

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: Electronic Visualisation and the Arts

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2019.58

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

C. E. AdcockJ. Turrell 1990 James Turrell: the art of light and space University of California Press Berkeley, US
K. BrougherO. Mattis Museum of Contemporary Art (Los Angeles, Calif.), & Hirshhorn Museum and Sculpture Garden 2005 Visual music: synaesthesia in art and music since 1900 Thames & Hudson London, UK
M. ChionC. GorbmanW. Murch 1994 Audio-vision: sound on screen Columbia University Press New York, US
G. Deleuze 1992 Cinema. 2 Athlone Press London, UK
G. DeleuzeF. Guattari 1994 What is philosophy?: Columbia University Press New York, US
B. Evans 2005 Foundations of a Visual Music Computer Music Journal 29 4 11 24
M. Flanagan 2012 ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film University of Exeter Exeter, UK
A. Griffiths 2008 Shivers down your spine: cinema, museums, and the immersive view Columbia University Press New York, US
Guggenheim 2017 James Turrell Exhibition Website http://web.guggenheim.org/exhibitions/turrell/ retrieved 3 July 2017 )
D. Ihde 2007 Listening and voice: phenomenologies of sound 2nd edn University of New York Press Albany, US
P. N. JuslinP. Laukka 2003 Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin 129 5 770 814
S. Kaplan 1992 The Restorative Environment: Nature and Human Experience D. Relf The Role of horticulture in human well-being and social development: a national symposium Arlington, Virginia, US 19-21 April 1990 134 142 Timber Press Portland, OR, US
P. KleeJ. Spiller 1970 Notebooks: Volume 2 G. Wittenborn New York, US
C. LundH. Lund 2009 Audio visual: on visual music and related media Arnoldsche Art Publishers Stuttgart, Germany
I. Mackintosh 2003 Architecture, Actor and Audience Routledge London UK
A. McCall 2014 Artist Talk Anthony McCall: Solid Light Films and Other Works (1971-2014) Amsterdam. Vimeo https://vimeo.com/140631580 retrieved 25 January 2019 )
M. Merleau-Ponty 2005 Phenomenology of perception C. Smith Routledge London, UK
L. Moholy-Nagy 1987 Painting, photography, film MIT Press Cambridge, MA, US
H. Richter 1952 Easel-Scroll-Film Magazine of Art February 1952
J. Watkins 2017 An investigation into composing visual music today Body, Space & Technology 16 2)

Comments

Comment on this article

[1] C. E. AdcockJ. Turrell 1990 James Turrell: the art of light and space University of California Press Berkeley, US

[2] K. BrougherO. Mattis Museum of Contemporary Art (Los Angeles, Calif.), & Hirshhorn Museum and Sculpture Garden 2005 Visual music: synaesthesia in art and music since 1900 Thames & Hudson London, UK

[3] M. ChionC. GorbmanW. Murch 1994 Audio-vision: sound on screen Columbia University Press New York, US

[4] G. Deleuze 1992 Cinema. 2 Athlone Press London, UK

[5] G. DeleuzeF. Guattari 1994 What is philosophy?: Columbia University Press New York, US

[6] B. Evans 2005 Foundations of a Visual Music Computer Music Journal 29 4 11 24

[7] M. Flanagan 2012 ‘Slow Cinema’: Temporality and Style in Contemporary Art and Experimental Film University of Exeter Exeter, UK

[8] A. Griffiths 2008 Shivers down your spine: cinema, museums, and the immersive view Columbia University Press New York, US

[9] Guggenheim 2017 James Turrell Exhibition Website http://web.guggenheim.org/exhibitions/turrell/ retrieved 3 July 2017 )

[10] D. Ihde 2007 Listening and voice: phenomenologies of sound 2nd edn University of New York Press Albany, US

[11] P. N. JuslinP. Laukka 2003 Communication of emotions in vocal expression and music performance: Different channels, same code? Psychological Bulletin 129 5 770 814

[12] S. Kaplan 1992 The Restorative Environment: Nature and Human Experience D. Relf The Role of horticulture in human well-being and social development: a national symposium Arlington, Virginia, US 19-21 April 1990 134 142 Timber Press Portland, OR, US

[13] P. KleeJ. Spiller 1970 Notebooks: Volume 2 G. Wittenborn New York, US

[14] C. LundH. Lund 2009 Audio visual: on visual music and related media Arnoldsche Art Publishers Stuttgart, Germany

[15] I. Mackintosh 2003 Architecture, Actor and Audience Routledge London UK

[16] A. McCall 2014 Artist Talk Anthony McCall: Solid Light Films and Other Works (1971-2014) Amsterdam. Vimeo https://vimeo.com/140631580 retrieved 25 January 2019 )

[17] M. Merleau-Ponty 2005 Phenomenology of perception C. Smith Routledge London, UK

[18] L. Moholy-Nagy 1987 Painting, photography, film MIT Press Cambridge, MA, US

[19] H. Richter 1952 Easel-Scroll-Film Magazine of Art February 1952

[20] J. Watkins 2017 An investigation into composing visual music today Body, Space & Technology 16 2)

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