Professional Documents
Culture Documents
The focus in these notes is to illicit some key terms that are at work and can be at work in visual work / interart medium works that work with
the language of visual and the language of music to create a unified art work. Many of the resources that are linked have video clips online
to preview works.
These key terms are only one aspect of each work presented. The term and the example are to show the wide range of works that are
created. They are meant to be thought provoking and yet at some level identify the ideas at work in visual music type art works and in
particular the musical ideas at work in visual music type art works, and to provide one example of a path through looking at visual music
work.
Great Resources
all types of actions, artefacts, noises, images, and movement into the performance space
Prometheus
The small tryptich
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http://prometheus.kai.ru/ogl_e.htm
http://www.medienkunstnetz.de/works/licht-raum-modulator/
Following the neglected «Opus 1» come three other purely abstract films. These too, are painstakingly colored by hand. That each film has
an original score composed especially for its production highlights another difference to the absolute films of Hans Richter or Oskar
Fischinger, which transposed in images music that already existed.”
http://www.medienkunstnetz.de/works/opus1/
The second central motive for artistic work with audio-visual media lies in their aesthetic potential to create image and sound experiences
that have never been seen or heard before, in other words art forms that go beyond all known genres. Thus in 1919
Walter Ruttmann designed «an art for the eye that differs from painting in that it is time-based (like music). … And so a type of artist will
emerge who is quite new and previously only latently in existence, placed somewhere between painting and music.» And this new art «can
definitely expect to reach a considerably wider audience than painting has.»[5] This idea takes on concrete form in the absolute films made
in the 1920s by Ruttmann, Viking Eggeling, Hans Richter and others. Kurt Weill produced an equivalent idea for «absolute radio art» in
1925, in which «an army of new, unheard sounds that the microphone could produce artificially» was to make possible something like «an
absolute, soulful work of art, floating above the earth.»
http://www.medienkunstnetz.de/themes/overview_of_media_art/forerunners/print/
Rhythm
Hans Richter
musical painting
Viking Eggeling Diagonal Symphonie 1925
b 1880 in Lund (SWE), died in 1925 in Berlin; since 1897 works as a book dealer in Germany, later as an
independent artist in Paris; during World War I he teaches drawing and sports in Zurich (CH), where he is
introduced to the circle of Dadaists and creates first sketches for image rolls and musical painting; 1920 first film
experiments and collaboration with Hans Richter; moves to Berlin in 1921; 1925 premiere of the «Diagonal-
Symphonie.»
ONLINE VIDEOCLIP
http://www.medienkunstnetz.de/artist/eggeling/biography/
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(Source: William Moritz: «Oskar Fischinger», in: Deutsches Filmmuseum Frankfurt am Main, Optische Poesie.
Oskar Fischinger Leben und Werk, Kinematograph Nr. 9, 1993, p. 42)
http://www.medienkunstnetz.de/works/komposition-in-blau/
sound ornaments
«Fischinger was born in Gelnhausen, on June 22, 1900. He studied organ buildung and then mechanical
engineering in Frankfurt am Main and successfully completed his engineering studies in 1922. [...] In 1923
Fischinger went to Munich, where he worked with Louis Seel at the ‹Münchner Bilderbogen› and made several
films of his own, all of which are now lost. He worked with Alecander Lászlo from 1925 to 1926 and designed the
projections for his partner’s color piano. [...] In Berlin he worked for UFA and was sought out for his expertise in
special effects for films such as Lang’s ‹Frau im Mond› (Woman in the Moon). [...] He worked intensively on sound experiments and
production of synthetic sound and was the first ot use a three-color system (‹Gasparcolor,› an invention of the Hungarian Béla Gaspar) in
avant-garde films. [...] He received sporadic assignments [after his emigration to the USA in 1936], but a contract with Welles came to
nothing because the company went bankrupt. He took up painting and received very modest support for himself and his family through a
Guggenheim Foundation fellowship. ‹Motion Painting No. 1› led to a falling out with the foundation. Aside from a few commercials he did
not make any films in the twenty-year period from 1947 until his death. [...] He died in Hollywood on January 31, 1967.»
(source: Goethe-Institut (ed.), The German Avant-Garde Film of the 1920’s, exhib. cat., München, 1989, p. 28f.)
http://www.medienkunstnetz.de/artist/fischinger/biography/
http://www.netropolitan.org/engel/engel_statement.html
http://cmm.nfb.ca/E/titleinfo/index.epl?id=11031&expr=${norman}%20AND%20${mclaren}&
sid=7e99de22f8f2c1e61068032d5aa49289&coll=onf&type=tout
“If you've been put off seeing these because they're 'only cartoons', think again. McLaren (a Scot working mainly in Canada) made some of
the most daring uses of film ever recorded. In early works like Boogie Doodle he made visual representations of music by painting directly
onto the film, and later created artificial soundtracks using a similar technique. In Synchromy he actually photographed the soundtrack itself.
His films cover an incredible range from the hypnotic minimalism of Lines Horizontal (which is just that!) to the stunning power of Pas de
Deux, a combination of live action and optical effects creating perhaps the most beautiful film ever made. Trust me, you don't know what
cinema can do until you've seen Norman McLaren.”\
ONLINE CLIPS in a museum website created by Canadian (nfb) studions - animation showcase resource – select corridors near end of
page (history section)
Note clips embedded in the content of corridors
http://www.nfb.ca/animation/html/en/06_museum/nfbaa_06_museum_e.html
Begone Dull Care/Caprice en couleurs 1949 (Norman McLaren and Evelyn Lambert
A lively interpretation in fluid lines and color, of Jazz music. Painting directly on film ONLINE CLIP
http://mediasphere.nfb.ca/E/recherche/index.epl?mode=titleinfo&type=genres&expr=&id=10456&catid=61&ofs=0&
extract=previews
A Chairy Tale (1957) A fairy tale in the modern manner.collaborated with Evelyn Lambart ONLINE CLIP
http://mediasphere.nfb.ca/E/recherche/index.epl?mode=titleinfo&type=genres&expr=&id=11152&catid=61&ofs=020&
extract=previews
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Norman McLaren explains how he makes synthetic sound on film. With an oscilloscope he first demonstrates what
familiar sounds look like on the screen; how sound shapes up opn a film’s sound track, then what synthetic sounds look
like when drawn directly on film. This technique is demonstrated in Dots and Loops
http://mediasphere.nfb.ca/E/recherche/index.epl?mode=titleinfo&type=keyword&expr=Norman%20McLaren&
id=10681&catid=&ofs=0&extract=previews
A pattern of colours and light Capturing the moods of music written for a jazz ensemble
http://mediasphere.nfb.ca/E/recherche/index.epl?mode=titleinfo&type=keyword&expr=Norman%20McLaren&id=10819&catid=&ofs=0&
extract=previews
Here are pyrotechnics of the keyboard, but only with a camera to play the tune. To make this film Norman employed
novel optical techniques to compose the piano rhythms of the sound track. These he then moved in multicolour onto the
picture area of the screen so that, in effect, you see what you hear. It is synchronization of image and sound in the
truest sense of the word.
http://mediasphere.nfb.ca/E/recherche/index.epl?mode=titleinfo&type=keyword&expr=Norman%20McLaren&id=10490&catid=&ofs=0&
extract=previews
http://cmm.nfb.ca/E/recherche/index.epl?type=tout&mode=et&duremin=&duremax=&anneemin=&anneemax=&
sid=7e99de22f8f2c1e61068032d5aa49289&expr=norman+mclaren&coll=onf&ofs=0
MORE McLAREN ONLINE CLIPS AND INFO FROM A DIFFERENT SOURCE (real media Clips)
http://www.nfb.ca/animation/ideas/voxars/html/en/kanbara/index.html
http://cmm.nfb.ca/E/titleinfo/index.epl?id=13390&sid=7e99de22f8f2c1e61068032d5aa49289&coll=onf
ONLINE CLIP at
http://cmm.nfb.ca/E/recherche/index.epl?type=tout&mode=et&duremin=&duremax=&anneemin=&anneemax=&
sid=7e99de22f8f2c1e61068032d5aa49289&expr=norman+mclaren&coll=onf&ofs=0
Rene Jodaoin
The triangle is shown splitting into some three hundred transformations, dividing and subdividing with grace and
symmetry to the music of a waltz
Quilt motifs to music, an abstract animated film, using computer and experimental techniques in choreographing quilt
motifs and designs to music. Music Norman Roger ONLINE CLIP AND STILLS
http://mediasphere.nfb.ca/E/recherche/index.epl?mode=titleinfo&type=genres&expr=&id=33146&catid=62&ofs=0&
extract=previews
An early experiment in employing computers to animate film. The result is a dazzling vibration of geometric forms in
vivid colour….Sound effects are created by registering sound shapes directly on the sound track of the film.
http://cmm.nfb.ca/E/titleinfo/index.epl?id=11877&sid=7e99de22f8f2c1e61068032d5aa49289&coll=onf
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Einstein on the Beach, Robert Wilson (filmmaker) and Philip Glass (composer)
Premiere: July 25, 1976
”For Wilson, the work represented a move away from the complex mise en scene of his earliest plays towards the stripped-down geometry
of his later work: a precise statement of light, movement, design, and duration.”
Information on how they went about creating this work at:
http://www.robertwilson.com/works/masterEinstein.htm
http://www.artmuseum.net/w2vr/timeline/Wilson.html
Conceptual and performative experimentation. Theoretical basis of sound and visual - Music Composition
approach
In Music on Triggering Surfaces, (1978) Bode constructs an interface between audio and video systems. The luminance information
(voltage) from the visual images traversed by the black dot is routed to an oscillator to produce the audio signal, which varies according to
the changing luminance. The video image itself then triggers the audio. The shifting grey-scale of the image becomes a two-dimensional
sound map or audio score. This tape was produced at the Experimental Television Center.
Arnold’s breakthrough film, pièce touchée, is based on a single 18-second shot from The Human Jungle (dir. Joseph M. Newman,
1954). Woman sitting in a chair. Man enters the room. Man and woman kiss. Exit man.
Diligently edited frame-by-frame over a period of 18 months with a home-made optical printer, the film is an ecstatically jerky
and stuttering ”close-reading” of a commonplace mainstream movie scene. The entire soundtrack, too, which sounds like a
mixture of looped hip hop beats and vintage Steve Reich, is collaged original material.
http://www.avantofestival.com/avanto2001/2001_screenings/fv_arnold.html
ONLINE CLIP AT: www.re-voir.com
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Inspired by the analogy between weaving (vertical warp threads traversed by horizontal weft
threads) and the construction of the television image (vertical and horizontal scans of an electron
gun), Stephen Beck built the Video Weaver in 1974, and produced Video Weavings in 1976. The patterns in this tape are based on
sequences of colors in dynamic mathematical progressions, inspired by non-representational Islamic art. Beck was also intrigued with the
problem of synthesizing aspects of human perception. Arriving at video through music,…
http://www.vdb.org/smackn.acgi$tapedetail?VIDEOWEAVI
http://www.medienkunstnetz.de/works/direct-video-synthesizer/
audiovisual impact
Gabriel Corchero Marea Negra [Black Tide] - multimedia interactive exhibit. (2000)
’A collection of interactive poems and sound landscapes, with video projections, CD-ROM and Internet, Black Tide creates an atmosphere
of immersion with a great audiovisual impact: a symbolic space of lights and shadows in which the artist evokes a unique architecture of the
uncertain, made up of dislocated words and viscous silences.’
‘The piece is conceived as a poetic space inviting reflective thought. It alludes to the black tide, taken to
be a metaphor of an altered state, marked by ambiguity, disorientation and altered parameters of time
and space. At the same time it establishes relationships between the ecosystem and the info-system. In
this sense, it recognizes one field of analogies and resonance between the pollution of our natural
environment and the environment of media…
The superimposing of visual, audio and olfactory impressions produces disconcerting effects. It provokes
a state of alert and suggests a critical reflection that puts the senses in question. Once again it shows
that in the end it is the brain that perceives and conceives of the realities of our natural and media environments.’
http://www.fundacion.telefonica.com/at/ecorchero.html
Several Directors who made their early works upon Schaeffer's commission would become darlings of the European art cinema - Chris
Marker, Jan Lenica, & Walerian Borowczyk among them. Many others remain unaccountably ignored, and are still awaiting the recognition
their extraordinary works should have long ago mandated them.’
http://www.liquidarchitecture.org.au/la4/concrete_essay.html
In contrast to more or less analytic observations in the visual media, artists like Jan Peter E. R. Sonntag in his
installation «modern minimal disco» (since 1995) or Granular Synthesis in their performance «POL» (1998) exert direct
influence on the physical perception of the spectator and produce synaesthetic experiences. By transferring sensory
impressions from one medium to another, as with the transformation of sound to vibration, the usual link of their mode
of representation to certain media is broken through and extended into other areas. In installations or performances,
they make sounds physically felt and add an additional sensory element to acoustic perception.
Mixing live with the aid of software they developed themselves, the two artists sample, shift, loop and amplify tiny synthetic units of image
and sound – which they call 'grains' – of the singer Diamanda Galas to produce a condensed, invasive stimulation of the senses.
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ONLINE CLIP
http://www.medienkunstnetz.de/works/pol/
electronic music
Dennis Miller Second Thoughts
Second Thoughts is an original 3D animation with original electronic music. This author created both the images and the sound.
Beautiful 3D textures
http://www.siggraph.org/artdesign/gallery/S01/48.html
Electroacoustic music
JunkBox Fraud Music By Donnacha Dennehy, Video by Gerry O Brien and Hugh Reynolds
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Contexts
http://www.unknown.nu/futurism/paintsound.html
Dada (1920s)
More a work in experimental Dadaism than a film, «Le Retour à la raison» was the first film to be made by the celebrated
surrealist artist, Man Ray.
VIDEO CLIP http://www.medienkunstnetz.de/works/retour-a-la-raison/
http://www.artmuseum.net/w2vr/timeline/Moholy.html
Between 1960 and 1975, Pierre Schaeffer, the famous French inventor of 'musique concrete', presided over the Research Service of
French TV & Radio (ORTF). Under his direction, this Service de la recherché produced countless experimental films and videos; largely
animations & abstract works, but also documentaries and live-action films. How many exactly is difficult to say - the scholarship is
threadbare, even in French.
Essay: Concrete Cinema
http://www.liquidarchitecture.org.au/la4/concrete_essay.html
Image Properties
Light
Colour
Interesting article on line about The Manipulated image by keith Griffiths, good to read for anyone who maybe interested in
the context of the manipulated image.
http://www.animateonline.org/features/0002.html
Electroacoustic Music
Electronic Music
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….”"And so the arts are encroaching one upon another, and from a proper use of this encroachment will rise the art that is truly
monumental." – Wassily Kandinsky”
http://www.artmuseum.net/w2vr/overture/integration.html
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GRRRRREAT RESOURCES
Overviews of the area – comprehensive sites with video links, excellent context for any research or getting to know the area more
1.
This comprehensive package on the history of experimental and independent video…online info and video clips.
Themes
Volume 1
http://www.vdb.org/packages/survey/volumeone.html
Volume 2
http://www.vdb.org/packages/survey/volumetwo.html
2.
Artmuseum Net
http://www.artmuseum.net/w2vr/overture/overture.html
“Broad themes that underscore an "untold" story behind the evolution of multimedia: its precedents, unsung heroes, and the extraordinary
creative work and visionary thinking of artists and scientists.”
Broad Themes
Etc..
3.
4.
MEDIASPHERE
Find a video
Teaching Tools
Web Projects
http://mediasphere.nfb.ca/E/index.php
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<5.
MEDIAARTNET
http://www.medienkunstnetz.de/themes/overview_of_media_art/
Forerunners of media art in the first half of the twentieth century by Dieter Daniels
http://www.medienkunstnetz.de/themes/overview_of_media_art/forerunners/
print version
http://www.medienkunstnetz.de/themes/overview_of_media_art/forerunners/print/
Audio Art
Golo Föllmer
http://www.medienkunstnetz.de/themes/overview_of_media_art/audio/
Technological Constructions of Space-Time - Aspects of Perception by Heike Helfert
http://www.medienkunstnetz.de/themes/overview_of_media_art/perception/
Virtual Narrations
Söke Dinkla
http://www.medienkunstnetz.de/themes/overview_of_media_art/narration/
6.
http: //cmm.nfb.ca/E/navigation
/index.epl?sid=ed3ec6b982ca744909d03dbac76babf4&session=reset&type=index
Research by Maura McDonnell for music and image course, masters mmt 2004 – 2005
www.soundingvisual.com/visualmusic
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