Music As Interdisciplinarity A Study of

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MA#in#Music#(Production)#
RESEARCH!PROJECT:!
Music!as!Interdisciplinarity:!
A!Study!of!Contemporary!Audiovisual!Arts!from!the!Musician’s!Perspective!
Name:!Quek!Wenxian!Lynette!
Exam!Number:!Y3836419!
Date:!9th!September!2016!
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Word!Count:!17945!Words!
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TABLE#OF#CONTENTS!
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ABSTRACT#..........................................................................................................................#1#
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1.#INTRODUCTION#..............................................................................................................#2#
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2.#RESEARCH#AIMS#AND#METHODS#....................................................................................#5#
2.1# Research#Aims#.......................................................................................................#5#
2.2# Research#Methods#.................................................................................................#5#
!
3.#DEFINITION#OF#TERMS#...................................................................................................#7#
Contemporary!..................................................................................................................!7!
Music!Producer!.................................................................................................................!7!
Audiovisual!.......................................................................................................................!8!
Intermedia!and!Interdisciplinary!......................................................................................!9!
!
4.#BACKGROUND#...............................................................................................................#11#
4.1# History#of#Audiovisual#Practices#............................................................................#11#
Colour!Organs!.................................................................................................................!11!
Visual!Art!........................................................................................................................!13!
Visual!Music!....................................................................................................................!15!
4.2# Similar#Audiovisual#Connections#and#Relationships#..............................................#16#
4.3# Movement#of#Audiovisual#Arts#in#Popular#Culture#................................................#19#
Film!and!Cinema!.............................................................................................................!19!
Music!..............................................................................................................................!21!
Music!Videos!..................................................................................................................!23!
Visual!Albums!.................................................................................................................!24!
Breaking!Boundaries!with!Audiovisual!Instruments!.......................................................!26!
4.4# Current#Trends#.....................................................................................................#28#
Extended!Techniques!.....................................................................................................!29!
Music!Improvisation!.......................................................................................................!30!
Creative!and!Artistic!Aesthetics!with!Interdisciplinary!Practice!.....................................!31!
4.5# Problems#in#Current#Research#and#Literary#Documentation#..................................#32#
!
5.#LITERATURE#REVIEW#.....................................................................................................#34#
5.1# Movement#in#Art#and#Technology#(Audiovisual)#...................................................#34#
5.2# Connections#and#Relationships#between#Audio#and#Visuals#..................................#37#
Oscilloscope!Waveform!Representations!of!Sound!.......................................................!37!
Music!as!Mediator!in!Bridging!Art!Forms!.......................................................................!38!
Parameters!of!Audiovisual!Convergence!........................................................................!39!
Future!Movements!in!Audiovisual!..................................................................................!42!
5.3# Artists,#Practitioners#and#Academics#.....................................................................#44#
Pioneers!..........................................................................................................................!44!
Independent!and!Contemporary!Artists!.........................................................................!46!
Academics!.......................................................................................................................!47!
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6.#AUDIOVISUAL#FROM#THE#MUSICIAN’S#PERSPECTIVE#.....................................................#49#
6.1# Approaches#for#Audiovisual#Creation#....................................................................#49#
Data!Sonification:!Audio!and!Visual!Parameter!Mappings!.............................................!49!
Balance!in!Aesthetics!......................................................................................................!52!
Synchronisation!in!Audiovisual!Works!...........................................................................!54!
6.2# Integrated#Composition#........................................................................................#57#
6.3# Technological#Tools#..............................................................................................#59#
Similar!Production!Techniques!.......................................................................................!60!
6.4# Acquired#Roles#and#Initiatives#...............................................................................#62#
Enhanced!Technological!Knowledge!..............................................................................!63!
Generating!New!Forms!of!Art!.........................................................................................!64!
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7.#PRACTICAL#FIELD#RESEARCH:#BERLIN,#GERMANY#...........................................................#65#
Berlin!Atonal!Festival!2016!.............................................................................................!66!
Audio!Presented!at!the!Festival!......................................................................................!67!
Audiovisual!Works!Presented!at!the!Festival!.................................................................!68!
Audiovisual!Relationships!...............................................................................................!70!
Turnout!Rate!...................................................................................................................!71!
Economic!Factors!............................................................................................................!72!
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8.#CONCLUSION#................................................................................................................#74#
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BIBLIOGRAPHY#..................................................................................................................#76#
General#.........................................................................................................................#76#
List#of#Figures#................................................................................................................#88#
List#of#Tables#.................................................................................................................#92#
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APPENDIX#A:#Photo#Documentation#of#Berlin#Atonal#2016#................................................#93#
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! Y3836419((((((((1!
ABSTRACT'
'
The( notion( of( the( convergence( between( sound( and( visuals( emerged( as( an( exploration( of(
new( digital( processes,( creative( possibilities( of( media( technologies( and( creation( of( new(
artistic( artefacts.( With( advancements( in( technology,( creative( audiovisual( practices( employ(
explorations( in( technological( processes,( software( experimentation( and( creative( aesthetics(
that( are( pursued( by( most( artists.( Music( plays( a( significant( role( in( this( combination( of( art(
forms,(bridging(and(forming(connections(and(relationships(between(visuals(and(sound.(With(
the(prominence(of(music(in(such(practice,(music(producers(have(since(taken(steps(to(bridge(
their(initial(field(of(music(across(to(an(interdisciplinary(audiovisual(combination.(This(paper(
examines(this(form(of(audiovisual(practice(from(the(viewpoint(of(a(musician(–(specifically(a(
music(producer(or(one(that(creates(and(produces(his(or(her(own(music.(This(paper(discusses(
current(trends(within(audiovisual(practice,(highlighting(relevant(relationships(and(integrated(
technologies,( along( with( the( reasons,( roles,( and( impact( in( terms( of( the( artistic,( economic,(
social(and(cultural(aspects.(A(practical(field(research(was(also(conducted(in(Berlin,(Germany,(
where(my(findings(from(volunteering(at(an(audiovisual(arts(festival(are(discussed(within(this(
paper(as(well.(Future(work(would(involve(creating(audiovisual(works(of(my(own,(creating(a(
sense(of(personal(artistic(practice(in(response(to(the(results(of(this(paper.(
( (
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1.'INTRODUCTION((
Interdisciplinary( practice( in( the( arts( is( constantly( in( the( limelight( of( research,( especially(
during( this( modern( age( of( the( twentieth( century( where( technological( advances( allow( for(
accessibility,( availability,( possibility( and( potential( for( artists( to( create( works( that( they(
envision.( Without( technical( constraints( and( limitations,( artists( are( able( to( produce( artistic(
works(expanding(out(of(their(initial(creative(practice.((
( With(existing(literature(and(written(text(on(the(topic(of(interdisciplinary(practices(in(
the( contemporary( arts,( this( paper( will( focus( on( sound( and( visuals( combinations,( where(
audiovisual(works(are(produced(through(such(practice.(With(sound(and(visuals(being(on(par(
in(importance(within(audiovisual(works,(existing(literature(have(mostly(been(documented(by(
film(and(visual(artists.(Hardly(having(any(focus(on(the(perspectives(of(music(makers(or(the(
producers(of(music,(emphasis(had(thus(always(been(placed(on(the(processes(and(viewpoints(
of(visual(production.((
The(area(of(audiovisual(practice(is(a(relatively(new(topic(that(has(potential(in(future.(
Audiovisual(practice(is(constantly(progressing,(where(‘digitisation(has(broken(down(auditory(
and(visual(information(into(bits(and(bytes(that(can(be(linked(or(translated(at(will,’1(leading(to(
the( blurring( and( merging( of( artistic( roles( as( well.( This( is( also( an( underOresearched( and(
documented( area,( as( often( the( creative( initiatives( and( purposes( of( music( producers(
engaging(themselves(with(combined(art(forms(are(more(practicalObased.(This(results(in(the(
lack( of( academia( due( to( independent( artists( searching( for( audio( and( visual( connections(
through( live( performances,( practical( works( and( physical( interaction( and( reactions.(
Audiovisual(expansion(through(technological(means(will(be(examined(in(this(paper,(directing((
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
1
(Dieter(Daniels(and(Sandra(Naumann,(ed.,(See#This#Sound.#Audiovisuology:#A#Reader,((Köln:(
Verlag(Walther(König,(2015).(
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towards(the(‘processObased(and(interactive(nature(of(digital(computational(audiovisuality.’2(
Unlike( the( field( of( audio( technology( that( has( literary( support( through( the( Audio#
Engineering# Society( (AES) 3 ,( Journal# on# the# Art# of# Record# Production( (JARP) 4 (and( other(
established(societies,(the(area(of(audiovisual(works(and(practices(are(less(in(common(among(
such( associations.( However,( there( are( trends( in( upcoming( research,( for( example( with( the(
Divergence# Press5(set( up( by( the( University( of( Huddersfield,( and( the( term( ‘Audiovisuology’6(
which( will( be( further( examined( within( this( paper.( Various( multimedia( festivals( are( also(
initiated(to(boost(such(practices,(particularly(emphasised(in(the(United(Kingdom(and(Europe.(
This(encourages(the(demand(for(research(within(this(field(of(practice,(specifically(from(the(
point(of(view(of(the(music(makers.((
Focusing( on( a( general( analysis( of( audiovisual( art,( this( paper( will( also( discuss( the(
current( issues( developing( within( Berlin( (Germany)( where( I( travelled( to( for( a( practical( field(
study( as( part( of( this( research.( The( research( on( Germany( portrays( an( onOgoing( artistic(
phenomenon(across(the(world,(within(the(field(of(contemporary(audiovisual(arts.((
Literature(is(lacking(in(areas(of(perception(from(artists(with(music(backgrounds,(or(
from(those(who(have(crossed(over(to(such(interdisciplinary(practices(while(still(placing(focus(
on( the( sound( element.( Present( literature( and( academic( texts( are( often( contributed( from(
media(artists,(film(specialists,(and(general(art(practitioners.(With(a(background(in(music(and(
personally(being(a(practitioner(of(audiovisual(art,(my(objective(for(this(paper(approaches(the(
viewpoint(of(audiovisual(art(from(the(perspectives(of(music(producers.(This(paper(examines(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
2
(Luísa(Ribas,(‘On(performativity(as(a(perspective(on(audiovisual(systems(as(aesthetic(
artifacts,’((conference(paper,(ICLI(2014:(International(Conference(on(Live(Interfaces,(Lisbon,(
Portugal,(November(19O23,(2014).(
3
(‘About(the(Audio(Engineering(Society,’(Audio#Engineering#Society,(Audio(Engineering(
Society,(accessed(July(15,(2016,(http://www.aes.org/about/(
4
(‘About,’(Journal#on#the#Art#of#Record#Production,(Association(for(the(Study(of(the(Art(of(
Record(Production,(accessed(July(15,(2016,(http://arpjournal.com/(
5
(‘About(Us,’(Divergence#Press,(University(of(Huddersfield,(accessed(July(15,(2016,(
http://www.divergencepress.com/AboutUs.aspx(
6
! Y3836419((((((((4!
the( realm( of( music( producers( and( creators,( aiming( to( make( connections( and( relations( in(
regards(to(musical(knowledge.(The(notion(of(music(makers(combining(two(or(more(forms(of(
art( as( their( artistic( practice;( along( with( the( practical( processes( utilised( to( achieve( their(
desired(outcomes,(and(whether(the(integration(of(multiple(art(forms(is(by(influence,(interest(
or(necessity(are(questions(aimed(to(be(answered.(This(paper(also(aims(to(identify(relevant(
concepts(to(document(the(role(and(purpose(of(music(producers(engaging(in(intermedia(arts,(
while(also(developing(and(extracting(new(knowledge.(Essential(elements(and(characteristics(
of( audiovisual( production( are( examined( from( the( perspective( of( music( producers( as( well.(
Due(to(time(constraints(and(limitations(of(a(Masters(dissertation,(this(paper(will(provide(an(
overview(survey(of(the(current(scene(in(the(field(of(audio,(visual(and(audiovisual(arts,(while(
aiming(to(achieve(a(balance(in(documenting(audiovisual(works(in(the(perspectives(of(music(
creation.((
The(next(chapter((Chapter(2)(will(identify(the(research(aims,(together(with(the(key(
research( methods( employed(for(this( research.( Chapter( 3( aims( to( define( certain( terms( that(
are( used( within( the( context( of( this( paper;( including( Contemporary,( Music# Producer,(
Audiovisual,(as(well(as(Intermedia#and#Interdisciplinary.(Chapter(4(presents(relevant(history(
and( background( information( regarding( the( field( of( audiovisual( practice.( Pioneer( and(
contemporary(artists(will(be(mentioned(within(this(chapter,(in(conjunction(with(the(current(
scene( of( audiovisual( works( in( popular( and( contemporary( music.( Chapter( 5( presents( a(
contextual( review( of( the( literature( that( is( relevant( to( the( research( for( this( paper.( Areas( of(
discussion( include( the( movement( in( art( and( technology,( connections,( and( relationships(
between( audio( and( visuals,( as( well( as( a( further( emphasis( on( existing( artists,( practitioners(
and( academics( in( terms( of( documented( literature.( Chapters( 6( and( 7( constitute( the( main(
body(of(this(paper(where(detailed(and(analysed(findings(are(presented,(as(well(as(discussing(
my(findings(from(the(practical(field(research.(Lastly,(Chapter(8(recounts(the(achieved(results(
as(an(outcome(of(this(research,(as(well(as(stating(possibilities(for(future(work.(( (
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2.'RESEARCH'AIMS'AND'METHODS(
This(chapter(first(states(the(research(aims,(followed(with(key(research(methods(undertaken(
to(approach(the(mentioned(objectives(of(this(paper.(
2.1'Research'Aims(
( For( this( paper,( I( aim( to( put( together( and( examine( literature( and( existing(
documentation( in( the( context( of( perspectives( of( music( practitioners( and( creators( that(
bridged( across( to( intermedia( audiovisual( production( from( their( original( practice( of( music.(
OnOgoing( trends( in( terms( of( artistic,( economic,( social( and( cultural( views( will( be( examined(
and(analysed.(A(critical(analysis(of(audiovisual(practice,(and(how(digital(systems((softwares(
and( technologies)( are( guiding( practitioners( towards( advancements( within( this(
interdisciplinary(field(of(art(practice(will(be(examined.(I(will(also(present(an(overview(of(the(
commonly( used( technologies( and( processes( undertaken( to( produce( an( audiovisual( work,(
from(the(viewpoint(of(the(musician,(music(producer(and(sound(artist(–(essentially(the(sound(
makers.(The(significant(aspects(of(audiovisual(production(will(also(be(examined.(This(paper(
thus( presents( an( initial( understanding( and( overview( regarding( the( movement( of( audio( to(
audiovisuals(for(contemporary(music(producers(and(practitioners.(
2.2'Research'Methods'
Research( methods( employed( involve( significant( documentary( analysis,( where(
qualitative( data( was( acquired( theoretically( through( books,( articles,( journals( and( existing(
interviews.( Literature( was( examined( across( the( topics( of( music,( film,( sound( art,( visual( art,(
contemporary(art,(multimedia,(interdisciplinary(practice(and(audiovisual(productions.(From(
existing( literature,( a( significant( amount( of( relevant( information( was( identified,( in( terms( of(
history,(contextual(knowledge,(current(happenings(and(a(foreseeable(future(in(this(field(of(
study.(With(extensive(background(knowledge(in(music(production,(this(paper(is(approached(
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with( the( perspectives( of( musicians( in( focus,( identifying(contextual( information( that( relates(
to( musicians.( This( paper( is( intended( and( specifically( interpreted( for( the( comprehension( by(
musicians,(music(producers(and(sound(artists.((
Along( with( theoretical( research,( other( research( methods( employed( in( this( paper(
include(an(ethnographic(practical(field(research(that(was(conducted(in(Berlin,(Germany.(This(
ethnographic(research(was(aimed(to(focus(on(the(area(of(the(United(Kingdom(and(Europe(
that( was( more( popular( with( audiovisual( activities.( On( prior( research,( Germany( was( the(
leading(location(to(hold(this(research(due(to(its(liberal(arts(culture(as(well(as(its(history(and(
progressions( of( the( art( scene.( I( was( honoured( and( privileged( to( attain( the( Santander(
International( Connections( Award,( which( provided( partial( funding( for( this( research( trip.(
Coinciding(within(the(dates(of(the(trip,(I(volunteered(at(an(audiovisual(festival(‘Berlin#Atonal’,(
where( I( achieved( firstOhand( immersive( experience( as( part( of( this( research.( From( the( trip,( I(
gained( insights( to( the( operational( methods,( new( technical( production( and( presentation( of(
works(in(the(context(of(a(contemporary(audiovisual(arts(festival.(The(artworks(exhibited(at(
the( festival( ranged( across( a( variety( of( presentations( –( realOtime( live( audiovisual(
performances,( live( music( with( light( shows,( fixed( music( scores( and( visuals,( as( well( as( live(
audiovisual(improvisation.7(I(was(able(to(witness(these(international(works(firstOhand,(some(
even(being(world(premieres.(The(practical(field(research(adds(on(relevant(findings(regarding(
the(current(perspective(of(music(creation(within(audiovisual(production.(
The( literary( analysis( and( documentation,( together( with( the( practical( field( research(
presents( new( classification( methods( and( different( thought( processes( in( the( field( of(
audiovisual(art(from(my(perspective(as(a(musician(and(music(producer.(
(
( (
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7
(Berlin(Atonal,(‘Berlin(Atonal(2016(–(Program,’(Facebook(video,(00:30,(posted(by(‘Berlin(
Atonal,’(July(19,(2016,(accessed(July(24,(2016,(
https://www.facebook.com/berlinatonal/videos/1181094685245265/(
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3.'DEFINITION'OF'TERMS(
This(chapter(defines(certain(terms(that(are(used(within(the(context(of(this(paper.(The(need(
to(identify(these(terms(is(due(to(their(ambiguity(within(the(vast(area(of(arts(that(is(examined(
within(this(paper.(
Contemporary(
‘Throughout( avantOgarde( movements( of( the( past( century,( gave( way( to( possibilities(
of(new(concepts(of(making(and(experiencing(art.’8(The(term(‘contemporary’(is(employed(due(
to( audiovisual( being( a( relatively( new( field( of( study( and( practice.( It( is( also( a( recent( issue(
where( artistic( roles( are( blurred( and( the( use( of( technology( is( enhanced,( allowing( similar(
technologies(to(be(used(crossOmedia.(‘Individual(trends(in(the(twentieth(century(favoured(a(
merging( of( roles( that( were( decisive( in( the( development( of( the( artistOmusician/musicianO
artist.’9(This(merge(of(artistic(contributions(is(more(commonly(‘developed(during(modernism(
that( artistOmusicians( and( musicianOartists( were( able( to( develop( within( the( bounds( of( an(
established(practice,’10(where(technological(advancements(in(the(digital(media(had(allowed(
for(such(practices(to(be(introduced(in(this(modern(era(of(the(arts.(
Music(Producer(
The( music( producer( is( mentioned( due( to( existing( technological( skills( and( thought(
processes(that(the(individual(has(to(acquire(for(music(production(in(the(modern(digital(era.(
This( includes( their( participation( in( the( recording( arts( and( postOproduction,( where( audio(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
8
(Ana(Carvalho,(‘The(Ephemeral(In(Audiovisual(Realtime(Practices:(An(Analysis(Into(The(
Possibilities(For(Its(Documentation,’(accessed(July(17,(2016,(
https://www.academia.edu/2040616/The_Ephemeral_in_Audiovisual_Realtime_Practices_a
n_Analysis_into_the_Possibilities_for_its_Documentation(
9
(Justin(Hoffmann(and(Sandra(Naumann,(‘ArtistOMusicians(and(MusicianOArtists,’(in(See#This#
Sound.#Audiovisuology:#A#Reader,(ed.(Dieter(Daniels(and(Sandra(Naumann((Köln:(Verlag(
Walther(König,(2015),(53.(
10
(Ibid,52.((
! Y3836419((((((((8!
equipment( and( digital( software( knowledge( are( vital( in( the( creation( of( works( in( the(
contemporary(art(scene.(This(allows(them(to(create(and(produce(their(own(music,(as(well(as(
being( able( to( approach( new( media( in( terms( of( technological( handling( and( acceptance.(
Especially( with( the( convergence( of( artistic( roles( that( are( concurrently( happening( in( the(
recording( arts( where( music( producers( are( often( also( the( recording,( mixing( and( mastering(
engineers,(this(phenomenon(is(present(in(Disc(Jockeys((DJ)(professions(as(well.(DJs(are(the(
producers( of( their( own( music( while( also( being( the( performers( of( their( artistic( creations.(
Music( producers( are( now( more( exposed( to( the( performative( stage,( as( compared( to( only(
staying(behind(studio(doors.((
Music( producers( in( the( context( of( this( paper( within( audiovisual( production( thus(
include(musicians(who(are(involved(in(the(technical(creation(of(their(own(music(and(visual(
artworks(–(the(producers(of(music(in(general.(
Audiovisual(
Audio( and( visuals( have( a( long( history( of( establishment,( often( coming( into(
association( with( each( other( throughout( various( practices.( ‘Audiovisual( performance( has(
under( its( umbrella( several( expressions( differentiated( by( processes( (more( or( less(
multidisciplinary,( such( as( VJ/DJing),( by( context( (in( closer( association( with( cinema:( Live(
Cinema),( by( history( (establishing( a( connection( with( musical( composition:( Visual( Music).’11(
Audiovisual( art( focuses( on( examining( the( associations( between( audio( and( visual( elements,(
where(the(combination(and(processes(of(its(creation(is(explored(within(an(interdisciplinary(
art( practice.( Audiovisuality( began( as( a( development( beyond( experimental( film( and( sound(
practices,(where(formal(practices(of(image(and(sound(composition(are(merged(and(studied(
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11
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as(a(joint(entity.12((
With( a( broad( range( of( genres( associated( with( the( term,( audiovisual( in( this( paper(
focuses( on( abstract( digital( images( that( can( be( done( and( programmed( on( the( computer(
(computerOgenerated)( –( not( inclusive( of( music( videos( that( require( professionals( from( the(
film( industries.( This( fits( in( to( the( contemporary( context( where( ‘a( large( proportion( of(
contemporary( visualisation( comes( in( the( form( of( algorithmically( manipulated( digital(
images.’ 13 (This( modern( approach( of( audiovisual( creation( is( made( possible( from( the(
technological( advances( and( the( demand( to( acquire( new( computer( skills( that( resulted( in(
computer( programming;( also( being( the( primary( method( for( creating( computerOgenerated(
images(used(in(contemporary(audiovisual(works.(This(allows(artists(to(work(individually(and(
have(flexible(control(over(the(aesthetics(of(their(works,(through(unlimited(access(to(capable(
tools(to(generate(sound(and(image(data,(even(in(realOtime.14(
Intermedia(and(Interdisciplinary(
‘Intermedia’( was( a( term( first( used( in( the( 1960s( by( Fluxus( artist( Dick( Higgins( to(
‘describe(artistic(experiments(led(by(a(looseOknit(group(of(artists(from(Europe(and(America(
who( called( themselves( ‘Fluxus’.’15(This( includes( the( description( of( various( interdisciplinary(
art(activities(ranging(from(the(literary,(theatrical(and(visual(realms(of(art.(‘Intermedia(melds(
aspects( of( different( disciplines( and( media.( In( so( doing,( intermedia( breaks( down( the( roles(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
12
(Mick(Grierson,(‘Session(5:(Audio(Visual(Composition:(Contemporary(Work(by(Audiovisual(
Creatives,’((lecture,(Creative#Programming#for#Audiovisual#Art#Kadenze#Course,(Goldsmiths(
University(of(London,(Online,(July(29,(2016).(
13
(Jack(Ox(and(Cindy(Keefer,(‘On(Curating(Recent(Digital(Abstract(Visual(Music,’(Center#for#
Visual#Music,(2008,(accessed(July(25,(2016,(
http://www.centerforvisualmusic.org/Ox_Keefer_VM.htm(
14
(Grierson,(‘Session(5:(Audio(Visual(Composition:(Contemporary(Work(by(Audiovisual(
Creatives,’(lecture.(
15
(CarolOAnn(Braun(and(Annie(Gentès,(‘Between(representation(and(social(interaction:(Fluxus(
intermedia(and(dialogic(form(on(the(Internet,’(Post#Identity(Vol.(4,(No.(2,(Fall((2005),(
accessed(July(17,(2016,(http://hdl.handle.net/2027/spo.pid9999.0004.201(
! Y3836419((((((((10!
traditionally(attributed(to(author,(object,(and(spectator(in(the(production(and(the(reception(
of(works(of(art.’16(
Intermedia(forms(a(close(and(tight(relationship(between(audio(and(visuals,(that(calls(
on( for( interdisciplinary( practices( and( processes.( ‘Intermedia( occurs( when( there( are(
structural( elements( from( two( or( more( different( media( combined( into( one( medium.’17(The(
convergence( of( artistic( roles( plays( a( significant( role( in( such( practices,( along( with(
technological( advances( that( allow( such( movements( to( occur( as( highlighted( previously.(
Interdisciplinary( is( thus( a( progressing( practice( that( sprouts( innovation( in( contemporary(
intermedia(art(practice.((
‘Music( and( the( visual( arts( were( not( so( ontologically( discrete( or( mutually( exclusive,(
but( rather( hybrids( transgressing( mediaOdemarcated( boundaries.’ 18 (With( interdisciplinary(
practice,( this( boundary( is( demolished( with( the( increased( practice( and( production( of(
audiovisual( works.( Although( listed( as( a( form( of( composition( practice,( audiovisual(
composition( is( regarded( as( a( nonOtraditional( type( of( composition,( as( opposed( to( music(
composition(or(film(storyboarding.(As(mentioned(in(this(chapter,(audiovisual(works(focus(on(
the( processes( and( interrelationships( between( sound( and( image.( This( form( of(
interdisciplinary(practice(thus(operates(at(a(higher(aesthetic(level,(through(the(combination(
of(two(distinct(art(forms(of(interrelated(functions(and(elements.(
( (
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
16
(CarolOAnn(Braun(and(Annie(Gentès,(‘Between(representation(and(social(interaction:(Fluxus(
intermedia(and(dialogic(form(on(the(Internet,’(Post#Identity(Vol.(4,(No.(2,(Fall((2005),(
accessed(July(17,(2016,(http://hdl.handle.net/2027/spo.pid9999.0004.201(
17
18
(Luísa(Ribas,(‘Sound(and(image(relations:(a(history(of(convergence(and(divergence,’(
Divergence#Press#Journal#Issue(2((June(2014),(accessed(June(30,(2016.(
http://divergencepress.com/Journal/JournalIssue/tabid/85/ID/13/categoryId/2/SoundOandO
imageOrelationsOaOhistoryOofOconvergenceOandOdivergence.aspx(
! Y3836419((((((((11!
4.'BACKGROUND'
This( chapter( states( the( history( and( relevant( background( information( in( the( context( of(
audiovisual(art,(while(also(identifying(the(relevant(connections(between(audio(and(visuals.(
4.1'History'of'Audiovisual'Practices'
( The( earliest( known( philosophy( regarding( sound( would( be( the( theories( of(
Pythagoras.( Pythagorean( theory( of( harmony( and( proportion( led( to( the( syntonic(
temperament( of( scales,( a( system( of( musical( tuning( determining( the( frequency( ratios( of(
intervals(within(the(harmonic(series,19(which(had(an(impact(on(the(works(of(John(Whitney,(
further( examined( in( Chapter( 6.( Leonardo( da( Vinci( acknowledged( and( emphasised( the(
harmony( in( painting( and( music, 20 (thereafter( creating( musical( instruments( based( on(
mathematical(calculations.(Sir(Isaac(Newton’s(publication(Opticks(in(1704(observed(that(the(
perceived( colours( from( light( (the( seven( colours( of( the( rainbow)( were( harmonically(
proportionate( to( a( diatonic( music( scale.21(With( the( inheritance( of( a( long( history,( many(
different(forms(of(sound(and(visual(coherences(have(since(been(created.(
Colour(Organs(
The( earliest( notion( of( audio( and( visual( combination( started( with( the( instruments(
created( by( Father( LouisOBertrand( Castel.( Castel( created( the( Clavecin# pour# les# yeux( (Ocular(
Harpsichord)(in(1725.(Based(around(a(normal(harpsichord,(a(large(frame(is(mounted(above(
with( sixty( small( windows( of( coloured( glass( with( individual( candles( inside.( (Fig.( 1)( The( sixty(
coloured(candles(correspond(to(the(notes(on(the(harpsichord(keyboard.(Once(a(key(is(struck,(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
19
(Bruce(Benward(and(Marilyn(Saker,(Music#in#Theory#and#Practice#Eighth#Edition#Volume#1,(
(New(York:(McGrawOHill,(2003),(56.(
20
(Tim(Shephard(and(Anne(Leonard,(ed.(The#Routledge#Companion#to#Music#and#Visual#
Culture,((Oxford:(Routledge,(2013),(202O203.(
21
(Kenneth(Peacock,(‘Instruments(to(Perform(ColorOMusic:(Two(Centuries(of(Technological(
Experimentation,’(Leonardo#Vol.#21,(No.(4((1988):(398.(
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the( curtain( surrounding( the( windows( will( be( lifted,( allowing( the( coloured( lights( to( shine(
through.( Through( this( method,( oneOtoOone( direct( mapping( of( note( pitchOtoOcolour( is(
achieved;(after(which(he(carried(on(to(propose(the(Clavecin#Oculaire#(Colour(Organ).(
Fig.(1:(A(caricature(of(Father(LouisOBertrand(Castel’s(Ocular(Harpsichord(
Other( pioneer( innovators( of( colour( organs( include( Alexander( Wallace( Rimington( and(
Bainbridge( Bishop.( Alexander( Scriabin,( a( Russian( music( composer,( composed( a( symphonic(
work(for(piano,(orchestra(and(colour(organ(named(‘Prometheus:(The(Poem(of(Fire’(in(1910,(
where(attempts(to(realise(the(work(has(been(made(using(carefully(treated(light(shows(and(
illuminations.((Fig.(2)(The(colour(association(for(this(piece(depended(on(harmony(based(on(
Scriabin’s(interpretation.(
Fig.(2:(Performance(attempt(by(Anna(Gawboy(and(the(Yale(Symphony(Orchestra(
! Y3836419((((((((13!
Thomas(Wilfred(then(created(a(new(form(of(kinetic(light(art(named(Lumia,(designed(
using( colour( organs( he( called( Clavilux( in( 1922.( The( Clavillux( allowed( temporal( elements(
including( time( and( rhythm( to( be( expressed( in( live( performance.22(Although( Wilfred( was( a(
musician( and( inventor,# Lumia( was( emancipated( from( music( where( he( deduced( that( Lumia(
should(be(an(art(without(sound,(placing(focus(on(the(light(shows.((Fig.(3)(
(
Fig.(3:(Thomas(Wilfred’s(Lumia(composition(
Visual(Art(
( Not(only(were(musical(instruments(part(of(the(audiovisual(movement,(paintings(and(
opera( gained( prominence( soon( after( in( the( early( twentieth( century.( The( emergence( of(
instrumental( music( during( the( nineteenth( century( led( artists( to( strive( for( an( ideal(
abstraction(of(visual(art.(Wassily(Kandinsky(first(approached(such(‘musical(abstraction’(in(his(
paintings,(where(music(was(a(significant(inspiration.(Kandinsky(also(initiated(the(movement(
of(Synaesthesia,(where(his(abstract(paintings(represented(his(musical(experience(in(regards(
to(colour,(line(and(form.(Impression#III#(Concert),(painted(in(1911,(was(inspired(by(the(music(
of(Arnold(Schoenberg(that(Kandinsky(heard(at(a(concert(in(Munich.((Fig.(4)(The(painting(was(
Kandinsky’s( interpretation( of( the( heard( sound.( The( dissonance( features( of( Schoenberg’s(
music(was(compared(to(the(‘freedom(and(creative(energy(in(his(abstract(painting.’23(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
22
(Kenneth(Peacock,(‘Instruments(to(Perform(ColorOMusic:(Two(Centuries(of(Technological(
Experimentation,’(Leonardo#Vol.#21,(No.(4((1988):(405.(
23
(Maura(McDonnell,(‘Visual#Music#(2007)’,(published(in(conjunction(with(The(New(York(
Visual(Music(Marathon(–(2009,(shown(at(the(Visual(Arts(Theatre,(New(York(City,(2009.(
! Y3836419((((((((14!
Fig.(4:(Kandinsky’s(painting(Impression#III#(Concert)#(1911)'
Morgan(Russell(and(Stanton(MacdonaldOWright(both(followed(to(develop(a(system(
where( connections( between( colours( were( ‘intimately( related( chromatic( waves.’ 24(
Convoluted( harmonies( and( rhythms( were( derived,( suggesting( the( notion( of( time( and(
motion,(as(well(as(‘colour,(form,(and(composition(per(se,25(through(a(formal(and(procedural(
analogy(to(the(musical.’26(Other(painters(associated(with(using(rhythm(as(visual(and(sound(
connection(include(Paul(Klee(and(Piet(Mondrian.(The(influence(of(music(in(painting(overall(
emerged( ‘as( an( effort( to( integrate( the( time( dimension,( namely( rhythm( or( temporal(
sequences.’27(Time(is(thus(an(element(that(is(present,(determinant(and(in(dominance(within(
both(visuals(and(music.(
Italian( Futurist( painter( Luigi( Russolo( carried( on( this( movement( by( creating( and(
constructing( experimental( instruments( called( the( noise( machines( (Intonarumori)( in( 1914.(
This(practice(of(creation(with(complex(sounds(envisioned(the(notion(of(Musique(Concrète(in(
France(and(Elektronische(Musik(in(Germany.(Together(with(the(construction(of(audiovisual(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
24
(Kerry(Brougher,(Jeremy(Strick,(Ari(Wiseman(and(Judith(Zilczer,(Visual#Music:#Synaesthesia#
in#Art#and#Music#Since#1900((London:(Thames(and(Hudson,(2005).(
25
(Andrea(Gottdang,(‘Painting(and(Music,’(in(Audiovisuology:#Compendium,(ed.(Dieter(
Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(2010),(246O
257.(
26
Divergence#Press#Journal#Issue(2((June(2014),(accessed(June(30,(2016.((
27
(Andrea(Gottdang,(‘Painting(and(Music,’(in(Audiovisuology:#Compendium,(ed.(Dieter(
Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(2010),(246O
257.(
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instruments,( the# Intonarumori( resulted( in( significant( impact( on( modernOday( music(
development.((Fig.(5)((
Fig.(5:(Luigi(Russolo(Noise(Machines(Intonarumori((1914)(
Visual(Music(
Still(painters(evolved(into(creating(for(film(and(animation(to(allow(a(new(aesthetic(of(
being( able( to( modify( and( manipulate( time( and( to( include( motion( and( movement( in( their(
works.( The( rise( of( cinema( and( various( forms( of( moving( images( thus( created( the( notion( of(
Visual(Music(and(Experimental(Film.(Prominent(figures(associated(with(these(genres(include(
Mary(Ellen(Bute,(Oskar(Fischinger,(Norman(McLaren(and(John(Whitney.(Influenced(by(Mary(
Ellen( Bute( through( past( collaborations,( Fischinger( created( a( series( of( abstract( animations(
that( were( tightly( synchronised( to( music.( The( connection( of( using( geometric( shapes( that(
moves( in( increasing( complex( patterns( was( further( developed( by( John( Whitney,( where(
computerOgenerated( soundtracks( and( visuals( were( devised( and( came( into( practice.( John(
Whitney( was( also( the( pioneer( of( finding( a( correlation( between( digital( images( and( sound(
through(the(theory(of(Digital(Harmony.28((Fig.(6)(The(area(of(Visual(Music(and(Experimental(
Film( is( highly( emphasised( in( this( paper,( and( will( be( mentioned( and( discussed( in( further(
chapters(as(well.(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
28
(John(Whitney,(Digital#Harmony:#On#the#Complementarity#of#Music#and#Visual#Art,(
(McGrawOHill:(Peterborough(New(Hampshire,(1980).(
! Y3836419((((((((16!
Fig.(6:(John(Whitney’s(Arabesque((1975);(computerOgenerated(moving(images(with(sound(
( Richard( Wagner’s( aesthetic( effect( Gesamtkunstwerk( (synthesis( of( the( arts)( is( also(
worth(mentioning(in(this(section(of(the(chapter.(This(term(was(devised(and(associated(with(
his( aesthetic( ideals( of( unifying( all( works( of( art( through( theatre( (or( then( known( as( opera).(
This(conception(of(interweaving(practices(of(the(arts(‘bypassed(a(history(of(artistic(tinkering(
with( technical( apparatus( for( correlating( the( visual( and( auditory( realms,’ 29 (leading( the(
pathway(for(technological(convergence(in(audio(and(visuals.(
(
(
4.2'Similar'Audiovisual'Connections'and'Relationships'
( The( previous( section( mentioned( certain( attributes( regarding( the( connection(
between(visuals(and(sound,(including(the(aspects(of(time,(rhythm,(and(harmony.(Adding(on(
to(this(list(is(also(the(relations(in(Space.(
Film( theorist( Michel( Chion( perceives( connections( between( audio( and( visuals(
similarly(to(anyone(who(experiences(it,(forming(the(theory(of(Synchresis.30(Naill(Moody(has(
identified( some( relationships( from( this( notion( with( the( aspect( of( motion.( Table( 1( lists( a(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
29
(Dieter(Daniels,(‘Sound(&(Vision(in(Avantgarde(&(Mainstream,’(Media#Art#Net:#Sound#and#
Image,(2005,(accessed(July(17,(2016,(http://www.mediaartnet.org/themes/imageO
sound_relations/sound_vision/(
30
(Michel(Chion,(AudioYVision:#Sound#on#Screen((New(York:(Columbia(University(Press,(1994).(
! Y3836419((((((((17!
diagram(that(Moody31(created(that(shows(example(domains(of(audiovisual(connections(with(
respect(to(motion.(
Table(1:(Domains(of(audio(and(visual(elements(with(respect(to(motion(parameters(
( From( the( relevant( information( mentioned( thus( far,( I( have( taken( the( initiative( to(
compile(and(present(them(together(within(a(diagram.((Table(2)(
Audiovisual'RelaKonships'
rightness(
Amplitude/B
ADSR(Envelope(
Spectural(
Monon(
(
Table(2:(Diagram(that(models(general(forms(of(audiovisual(relationships(
Table( 2( models( the( relationships( between( audio( and( visuals( in( a( twoOdimensional( and/or(
threeOdimensional( representation.( It( consolidates( the( attributes( mentioned( in( relevance( to(
the( different( parameters( along( with( motion.( As( the( common( connection( established(
between(audio(and(visuals(is(their(temporal(progressions,(time(is(naturally(considered(as(a(
connecting( factor( and( not( included( in( the( graph;( motion( can( be( considered( as( a( form( of(
temporal( gesture( as( well.( Amplitude( refers( to( the( volume( level( of( the( sound( source,( while(
brightness( refers( to( both( audio( (frequency)( and( visual( (lightness)( sources.( Amplitude( and(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
31
(Niall(Moody,(‘Ashitaka:(An(Audiovisual(Instrument,’((Ph.D.(thesis,(University(of(Glasgow,(
2009),(76.(
! Y3836419((((((((18!
brightness( form( a( direct( relationship( due( to( their( obvious( and( recognisable( nature( when(
presented.(The(AttackODecayOSustainORelease((ADSR)(envelope(of(sound(creation(progresses(
along(time((and(motion).(Spectral(information(is(also(affected(and(manipulated(along(time(
as( well,( depending( on( the( portrayal( of( visuals( where( sound( will( be( presented( accordingly;(
differing( from( the( brightness( of( audio( frequency( where( it( is( a( constant( event.( These(
parameters( are( adjusted( along( with( time( and( space( domains( where( modifications( to( the(
sound(and(visuals(occur.(Space(refers(to(the(area(in(which(audio(and(visuals(are(presented(in(
either(two(or(threeOdimensional(forms.(Spatial(audio(includes(multichannel(representation,(
beyond( the( mono( and( stereo( realm( of( audio( playback.( Space( in( audio( is( manipulated(
through( unique( panning( techniques( in( stereo( or( multichannel( systems.( Visual( space(
encompasses(multiOscreen(visualisations,(as(well(as(the(positioning(of(visual(elements(on(a(
single( visual( screen.( Along( with( the( oneOtoOone( mapping( technique( as( mentioned( earlier,(
other( strategies( of( parameter( mappings( include( oneOtoOmany( (divergent)( and( manyOtoOone(
(convergent)( mappings.( These( relationships( will( be( examined( further( in( Chapter( 6( of( this(
paper,(playing(an(important(aspect(of(audiovisual(production(for(musicians.(
Other( forms( of( perceptions( that( affect( the( audio( and( visual( streams( in( the( brain(
include( the( McGurk( effect32,( the( ‘illusionary( flash’( effect33(and( the( ‘ventriloquist( effect’.34(
The(McGurk(effect(notes(the(perception(of(speech(with(certain(visual(stimuli.(For(example,(if(
the( sound( of( someone( saying( ‘ba’( were( played( to( the( video( of( someone( saying( ‘ga’,( the(
perception(of(the(sound(would(be(‘da’.(The(‘illusionary(flash’(effect(notes(the(perception(of(
visual(flashes(according(to(the(number(of(auditory(beeps.(When(a(single(visual(flash(or(cue(is(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
32
(Harry(McGurk(and(John(MacDonald,(‘Hearing(lips(and(seeing(voices,’(Nature#264(
(December(1976):(746O748,(accessed(19(July,(2016,(
http://www.nature.com/nature/journal/v264/n5588/abs/264746a0.html(
33
(Ladan(Shams,(Yukiyasu(Kamitani(and(Shinsuke(Shimojo,(‘What(you(see(is(what(you(hear,’(
Nature#408((December(2000):(768,(accessed(July(19,(2016,(
http://www.nature.com/nature/journal/v408/n6814/full/408788a0.html(
34
(Ian(P.(Howard(and(William(B.(Templeton,(Human#Spatial#Orientation((New(York:(Wiley,(
1966).(
! Y3836419((((((((19!
accompanied( by( multiple( beeps( or( audio( cues,( the( single( visual( flash( will( be( perceived( as(
more(than(one.(The(‘ventriloquist(effect’(plays(with(the(idea(of(having(the(sound(source(not(
being(produced(from(the(direction(of(the(perceived(visual(source.(
( This( section( has( emphasised( the( importance( of( sound( in( visual( arts,( having( music(
and( sound( as( an( integral( part( in( the( overall( production( of( the( artwork.( Their( correlated(
functions(also(heightened(the(influence(that(music(carries,(where(‘music(became(the(model(
for(the(pursuit(of(purity(and(maturation(of(each(art’s(material(or(mode,(namely(in(the(visual(
arts.’35(New( forms( of( art,( interpretation,( and( representation( of( original( practice( are( thus(
created.(
4.3'Movement'of'Audiovisual'Arts'in'Popular'Culture'
Film(and(Cinema(
Film(and(Cinema(were(the(industries(that(accepted(the(merge(of(audio(and(visuals(
into( a( unity,( where( works( were( available( for( the( general( public( audience.( Walt( Disney’s(
Fantasia(in(1940(was(a(prominent(audiovisual(work(in(the(aspect(of(popular(culture.((Fig.(7)(
Oskar( Fischinger( was( one( of( the( animators( working( on( the( film;( it( was( also( the( first(
commercial( film( in( stereo( sound.( Although( using( existing( music( including( those( of( Johann(
Sebastian( Bach,( Pyotr( Ilyich( Tchaikovsky,( Igor( Stravinsky( and( Ludwig( van( Beethoven( rather(
than( composing( music( solely( for( the( film,( the( presented( visuals( and( music( were( highly( in(
synchronisation,( where( the( moving( images( corresponded( to( the( music( pieces( mostly(
according(to(rhythm.((
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35
! Y3836419((((((((20!
(
Fig.(7:(Orchestral(section(of(Fantasia((1940)(
Stanley(Kubrick’s(2001:#A#Space#Odyssey(in(1968(is(another(significant(film,(utilising(
the(slitOscan(photography(technique((Fig.(8)(devised(by(John(Whitney(in(his(audiovisual(work(
Catalog( in( 1961( (Fig.( 9).( Embracing( visual( arts( into( commercial( practice( foresighted( the(
progression(of(audiovisual(arts(in(contemporary(production.(
(
Fig.(8:(Star(Gate(sequence(of(2001:#A#Space#Odyssey((1968)(
(
Fig.(9:(John(Whitney’s(slitOscan(technique(in(Catalog((1961)(
! Y3836419((((((((21!
Music(
In(the(aspect(of(music,(DJ(sets(are(significant(examples(of(music(performances(that(
integrate(visual(presentation(along(with(the(auditory.(Originally(and(prominently(set(in(the(
dance( club( scene,( DJs( have( since( taken( a( step( to( larger( stages,( headlining( huge( music(
festivals( including( the( Coachella( Valley( Music( and( Arts( Festival( (California),( Glastonbury(
Festival( (United( Kingdom)( and( Lollapalooza( (United( States,( Chile,( Brazil,( Berlin( and( other(
locations).((DJ(sets(often(feature(the(disc(jockeys(situated(behind(equipment,(turning(knobs(
and( pushing( faders( that( are( ‘invisible( from( the( audience.( The( lack( of( visual( element( will(
portray( the( DJ( set( to( be( boring( or( uninteresting( for( the( general( audience,( especially( in( a(
location( setting( such( as( the( club.( With( visual( enhancements( in( terms( of( digital( moving(
images( or( light( shows,( the( aesthetics( of( a( DJ( performance( is( strengthened,( immersing( the(
audience( within( an( audiovisual( entity.( Such( performances( are( often( executed( with(
collaboration(between(DJs(and(Video(Jockeys((VJs,(although(not(to(be(confused(with(music(
promoters(on(television(stations).(
The(general(audience(is(thus(expecting(live(DJ(sets(to(contain(a(complete(content(of(
visual( and( auditory( performance.( Popular( DJOturnedOartists( including( Skrillex,( Flying( Lotus,(
Calvin(Harris,(David(Guetta,(Morgan(Page(and(others(not(only(ignite(the(excitement(of(their(
crowd( through( collaborations( with( renowned( current( music( artists,( but( also( through( their(
visuals(and(light(shows(during(their(individual(performances.(While(the(Dance(and(Electronic(
music(scene(is(constantly(gaining(popularity(among(the(general(public,36(visual(presentation(
on( stage( is( becoming( tantamount( to( the( auditory.( ‘VJs( manipulate( preOloaded( clips( and(
graphics(to(fit(a(DJ’s(set,(editing(content(on(the(go(by(adding(effects(and(altering(colours.’37(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
36
(International(Music(Summit,(IMS#Business#Report#2016:#An#annual#study#of#the#Electronic#
Music#Industry((Ibiza:(IMS,(2016),(accessed(July(30,(2016,#
http://www.internationalmusicsummit.com/wpOcontent/uploads/2016/05/IMSOBusinessO
ReportO2016.pdf(
37
(Natalie(Robehmed,(‘Behind(The(Screen:(The(Art(Of(EDM(Visuals,’(Forbes:#Entrepreneurs,(
August(14,(2013,(accessed(July(30,(2016,(http://www.forbes.com/sites/natalierobehmed/(
2013/08/14/behindOtheOscreenOtheOartOofOedmOvisuals/(
! Y3836419((((((((22!
Not( only( is( the( visual( artist( a( graphical( designer( per( se,( they( also( have( to( correlate( to( the(
musical( elements( that( are( presented( together( with( their( graphical( performances.( Music( is(
often(placed(as(top(priority(in(live(DJ(sets,(however,(the(visuals(are(as(important,(deeming(
the( performance( as( unsuccessful( if( a( common( consensus( within( the( audiovisual(
performance( is( not( achieved.( The( audiovisual( presentation( of( a( DJ( set( also( demonstrates(
unique( and( individualistic( artistic( styles,( characterising( DJs( from( other( individuals( of( the(
similar(genre.(
Rock( and( pop( concerts( now( also( commonly( incorporate( light( shows;( pioneered( in(
the(1960s(by(artists(Mark(Boyle(and(Joan(Hills(in(London,(Glen(McKay(in(San(Francisco(who(
performs(light(shows(with(band(Jefferson(Airplane,38(together(with(Mike(Leonard(and(Peter(
Wynne(Wilson(who(create(light(shows(for(Pink(Floyd.39((Fig.(10)(These(acts(were(associated(
with( the( introduction( of( Liquid# Light# Shows,( which( surfaced( as( a( supplement( to( the(
progressive(music(scene,(specifically(in(electronic(music,(avantOgarde,(rock,(and(psychedelic(
music.((
Fig.(10:(Peter(Wynne(Wilson(handling(the(light(show(for(the(Pink(Floyd(Album(Launch(at(
Porchester(Hall(in(London,(England((2014)(
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38
(Kerry(Brougher,(Jeremy(Strick,(Ari(Wiseman(and(Judith(Zilczer,(Visual#Music:#Synaesthesia#
in#Art#and#Music#Since#1900((London:(Thames(and(Hudson,(2005):(161O169.(
39
(‘Mike(Leonard:(The(Man(Who(Created(Pink(Floyd’s(Light(Show(Magic,’(Dangerous(Minds,(
September(07,(2011,(accessed(July(19,(2016,(
http://dangerousminds.net/comments/mike_leonard_the_man_who_created_pink_floyds_
light_show_magic(
! Y3836419((((((((23!
Concerts( nowadays( not( only( incorporate( light( shows,( but( also( graphical(
visualisations(imitating(those(of(the(DJ/VJ(culture.(This(is(seen(across(the(globe,(in(concerts(
put(on(by(various(rock(and(pop(artists(performing(throughout(different(countries(and(cities.(
Live( concerts( also( enhance( the( experience( of( concertgoers( with( their( audiovisual(
presentation,( increasing( expectations( and( the( wants( of( the( general( public.( Popular( culture(
and(public(demand(have(thus(driven(and(triggered(expansion(and(evolution(within(the(field(
of(audiovisual(art.(
Music(Videos(
( Music( videos( are( the( most( popular( form( of( integrating( music( and( moving( images(
together(within(popular(music(culture,(gaining(popularity(during(the(1980s.(They(are(often(
used( for( promotional( and( marketing( purposes( for( sales( of( new( records.( Music( videos(
enhance(the(songs(by(portraying(the(lead(singer(or(band(musicians(within(the(context(of(the(
song,( either( through( story( telling( or( performing( the( song( as( if( live.( Music( videos( are( also(
used( to( positively( promote( the( singer,( band,( and( musicians,( although( this( might( differ(
depending( on( public( reception.( Music( videos( have( also( been( taking( the( coherent(
relationships( between( the( musical( and( visual( elements( into( consideration( to( establish( a(
relatable(audiovisual(connection.(From(this,(Carol(Vernallis40(deduced(that((
‘music(video(aesthetics(accentuates(an(already(existing(tendency(by(adding(musical(
structuring( to( the( mix.( Features( like( multiple( motivic( threads,( unpredictable(
narrative( structuring,( openOendedness,( hookOlike( repetition,( rhythmic( editing(
practices,( and( the( layering( of( sound( all( contribute( to( an( overriding( musical(
sensibility.’41((
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40
(Carol(Vernallis,(‘Music(video,(songs,(sound:(experience,(technique(and(emotion(in(Eternal#
Sunshine#of#the#Spotless#Mind,’(Screen(49:3((Autumn(2008):(277O297.(
41
(John(Richardson,(An#Eye#for#Music:#Popular#Music#and#the#Audiovisual#Surreal((New(York:(
Oxford(University(Press,(2012),(59.(
! Y3836419((((((((24!
( YouTube( cover( music( artists( have( established( a( new( scene( for( music( videos,(
incorporating(new(artistic(creation(and(techniques(for(their(cover(songs.(Pomplamoose’s(42(
forerunner(Jack(Conte(defined(the(term(VideoSongs,(where(the(video(portrays(a(‘what(you(
see( is( what( you( hear’( element.( (Fig.( 11)( This( is( contradictory( to( the( production( of(
commercial( music( videos,( where( recordings( of( the( released( songs( were( done( to( extensive(
quality( before( commencement( of( the( shooting( of( the( video;( where( hardly( any( musical(
element(from(the(film(shoot(is(used(within(the(final(released(music(video.(The(production(of(
VideoSongs(is(increasing(in(popularity,(especially(from(other(works(of(Kurt(Hugo(Schneider(43(
and(Postmodern(Jukebox.44(
Fig.(11:(An(example(of(Pomplamoose’s(Videosong(production(
Visual(Albums((
Visual( albums( originated( from( Animal( Collective( with( the( album( ODDSAC( in( 2010.(
ODDSAC( was( created( to( form( interOcorrelated( reflections( of( Animal( Collective’s( music( and(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
42
(PomplamooseMusic,(YouTube(channel,(accessed(July(23,(2016,(
https://www.youtube.com/user/PomplamooseMusic(
43
(Kurt(Hugo(Schneider,(YouTube(channel,(accessed(July(23,(2016,(
https://www.youtube.com/user/KurtHugoSchneider(
44
(PostmodernJukebox,(YouTube(channel,(accessed(July(23,(2016,(
https://www.youtube.com/user/ScottBradleeLovesYa(
! Y3836419((((((((25!
visual(elements.45(The(term(was(then(made(noticeable(by(popular(music(icon(Beyoncé(with(
her(eponymous(album(in(2013((Fig.(12)(and(Lemonade(in(2016.(The(audiovisual(works(depict(
the( various( musical( themes( that( were( conceived( during( the( album( production.( Other(
musicians( that( followed,( or( are( in( association( with( this( form( of( music( production( include(
Todrick(Hall,(Kanye(West,(Death(Cab(for(Cutie,(Noah(and(the(Whale,(and(most(recently(Frank(
Ocean(with(a(fortyOfive(minute(visual(release(prior(to(his(recent(music(album.46(
Fig.(12:(Beyoncé’s(eponymous(visual(album(in(2013(
The(difference(between(Visual#Music(and(Music#Videos(is(the(form(of(presentation.(
Visual#Music(albums(tend(to(link(all(visual(materials,(forming(coherence(from(start(to(end.(
Music#Videos(are(individual(visual(productions(of(each(song,(often(without(coherence(to(one(
another;(the(only(coherence(made(is(between(the(visuals(and(music(presented(with(it.(The(
separation(of(the(terms(Visual#Music(and(Music#Video(is(an(ambiguous(but(promising(sight(in(
the( prominence( of( visuals( in( music,( and( vice( versa,( where( ‘frontiers( are( pleasingly( kept(
blurry(and(the(practices,(both(analogue(and(digital(ones,(seem(to(revive(each(other.’47(Many(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
45
(Matthew(Solarski,(‘Hey,(It’s(an(Animal(Collective(Film(Project(QuasiO(Update,’(Pictchfork,##
December(04,(2008,(accessed(July(23,(2016,#http://pitchfork.com/news/34189OheyOitsOanO
animalOcollectiveOfilmOprojectOquasiOupdate/(
46
(Althea(Legaspi,(‘Frank(Ocean(Unveils(Contemplative(“Endless”(Visual(Album(Stream,’(
Rolling#Stone,(August(19,(2016,(accessed(September(07,(2016,(
http://www.rollingstone.com/music/news/watchOfrankOoceansOendlessOvisualOalbumO
streamOw435308(
47
(Raquel(Herrera,(‘Losing(control:(The(distribution(of(publications(by(and(about(artists(in(the(
digital(context,’(A*DESK,#Editorial(104((2012),(accessed(July(19,(2016,(http://www.aO
desk.org/spip/spip.php?article1595(
! Y3836419((((((((26!
artists(have(acknowledged(such(relationships(to(evolve(new(narrative(and(dynamic(creation(
of( works( through( ‘gathering( of( information,( …( relating( ideas( and( concepts,( and( breaking(
hierarchies(…((turning)(them(into(perfect(consumer(of(digital(technology(…(to(generate(new(
expressive( discourses.’48(These( evolutions( present( ‘ideas( of( a( technical( separation,( artistic(
synthesis,( and( correspondence( between( the( visual( and( auditory( as( put( into( practice( with(
experimental(devices.’49(
Breaking(Boundaries(with(Audiovisual(Instruments(
(
Audiovisual(instruments(have(since(been(devised(and(created(for(the(performative(
aspect(of(music.(Significant(instruments(that(allow(realOtime(audio(and(visual(manipulation(
include( Golan( Levin’s( Audiovisual# Environment# Suite# (AVES)#50,( devised( between( 1998( and(
2000.(The(set(of(seven(interactive(software(systems(in(AVES(enable(the(performer(to(create(
abstract( moving( images( and( synthetic( sound( simultaneously.( Also( through( the( use( of(
gestures,(Imogen(Heap’s(launch(for(a(Kickstarter(campaign51(to(develop(and(produce(openO
source( Mi.Mu( gloves( explore( ‘cuttingOedge( wearable( technology( for( the( performance( and(
composition(of(music(…((offering)(a(new(and(flexible(approach(to(the(control(of(music(and(
visuals( with( intuitive( human( movement.’ 52 ((Fig.( 13)( The( integration( of( technology( into(
musical( practices( is( an( interesting( approach( from( Heap,( who( was( originally( a( singerO
songwriter(and(composer(from(England.(Heap’s(other(associations(with(technology(include(
utilising(the(web(to(interact(and(collaborate(with(her(fans.(Vokle,(an(online(auditorium(web(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
48
(Eva(Figuerars(Ferrer,(‘Creative(and(Multidisciplinary(Etching(in(the(Digital(Age,’(
International#Journal#of#Humanities#and#Social#Science#Invention#2#(2013)(8:(32O34,(accessed(
July(19,(2016,(http://diposit.ub.edu/dspace/handle/2445/53452(
49
50
(Golan(Levin,(‘Audiovisual(Environment(Suite,’(Flong:#Golan#Levin#and#Collaborators,#
Projects,(2000,(accessed(July(19,(2016,((http://www.flong.com/projects/aves/(
51
(‘Mi.Mu(Glove(for(Music,’(Kickstarter,(March(19(to(May(03,(2014,(accessed(July(19,(2016,(
https://www.kickstarter.com/projects/mimu/mimuOgloveOforOmusic(
52
(‘The(mi.mu(gloves,’(Mi.Mu(Gloves,(accessed(July(19,(2016,(
http://mimugloves.com/#TheGloves(
! Y3836419((((((((27!
space,(have(been(frequently(used(for(her(concert(tours,(where(questionnaires(and(auditions(
have(been(hosted(through(the(web(platform.(
Fig.(13:(Imogen(Heap’s(Mi.Mu(gloves(
As( mentioned( in( the( previous( section( of( audiovisual( connections,( Niall( Moody(
identified( some( relationships( from( the( notion( of( gesture( as( well,( including( the( aspect( of(
motion.(Ashitaka(is(an(audiovisual(instrument(devised(recently(by(Moody(in(2009,(based(at(
the( Centre( for( Music( Technology( at( the( University( of( Glasgow,( United( Kingdom.( Ashitaka(
uses(gestures(with(the(idea(of(using(motion(to(connect(audio(and(visuals.(The(inventions(of(
Ashitaka( and( the( Mi.Mu( gloves( emphasise( the( movement( of( integrating( interdisciplinary(
practice.( Heap’s( notion( of( performative( music( is( worth( further( discussion( –( her( being( a(
musician( while( focusing( on( the( visual( representation( of( her( music( works.( From( her( Mi.Mu(
gloves,( she( is( trying( to( change( the( situation( of( ‘invisible( musicians’,( placing( music( into( a(
highly(visual(in(the(manipulative(and(expressive(aspects.(
Randolph( Jordan( examines( ‘the( idea( of( live( performance( as( hinging( upon( an(
audience’s(need(for(a(visual(point(of(reference(as(substantiation(of(a(performer’s(presence(…(
we( can( no( longer( see( what( a( performer( is( doing( to( create( the( sound.’53(This( is( progressed(
from( the( notion( of( recorded( sound( as( a( compositional( practice,( where( sounds( have( been(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
53
(Randolph(Jordan,(‘Case(Study:(Film(Sound,(Acoustic(Ecology(and(Performance(in(
Electroacoustic(Music,’(in(Music,#Sound#and#Multimedia:#From#the#Live#to#the#Virtual,(ed(
Jamie(Sexton((Edinburgh:(Edinburgh(University(Press,(2007),(122.(
! Y3836419((((((((28!
manipulated(and(distorted(from(the(original.(The(instruments(mentioned(within(this(section(
not(only(portrays(the(visual(performative(element,(but(also(allowing(for(a(greater(range(of(
expression( in( audiovisual( works,( emphasising( the( significance( of( the( performerOmusicianO
artist( collaboration,( while( also( creating( an( immersive( experience( for( the( performer( and(
audience.(Technological(advances(created(opportunities(for(new(artistic(creation,(but(it(is(to(
note(that(such(movement(relies(on(individual(musician’s(interest(and(influences(as(well.((
4.4'Current'Trends(
Music( provided( an( approach( to( structure( visual( elements( according( to( temporal(
organisation,(‘from(Bach’s(musical(rules(and(poetics(to(Schoenberg’s(move(towards(atonality(
and( serialism.’54(Artists( and( musicians( across( various( genres( and( eras( are( also( constantly(
finding( ways( to( break( boundaries.( This( can( be( seen( from( the( notion( of( applying( extended(
techniques(on(their(skilled(instruments,(as(well(as(the(move(to(atonal(Electroacoustic(music,(
raising(questions(and(executing(ideas(beyond(limitations(of(a(certain(genre.(Through(the(use(
of( extended( techniques,( or( rather( an( expansion( of( techniques,( musicians( are( getting(
involved( in( multimedia( works( as( well.( Expansion( of( techniques( to( intermedia( practices(
allows(for(technological(creative(thinking(and(interdisciplinary(practices(for(music(producers(
with(such(skills(to(expand(their(horizons.(A(new(form(of(hybridity(among(the(arts(is(formed,(
as( if( occurring( or( progressing( naturally( into( a( place( that( is( well( fitted( within( the(
contemporary( art( practice.( This( inquires( a( new( system( for( the( arts( to( be( correlated( ‘not(
superficially(but(fundamentally.’55((
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54
(Karin(von(Maur,(‘Bach(et(l’art(de(la(fugue:(Modèle(structurel(musical(pour(la(creation(d’un(
langage([Bach(and(the(Art(of(the(Fugue:(Music(structural(model(for(the(creation(of(a(
language],’(in(Sons#et#Lumières:#Une#histoire#du#son#dans#l’Art#du#XXè#Siècle#;#ouvrage#publié#
[Sounds#&#Lights:#A#history#of#sound#and#art#of#the#twentieth#century#;#book#published],(
(Paris:(Éd.(du(Centre(Pompidou,(2004),(17O27.(
55
(Andrea(Gottdang,(‘Painting(and(Music,’(in(Audiovisuology:#Compendium,(ed.(Dieter(Daniels(
and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(2010),(246O257.(
! Y3836419((((((((29!
Extended(Techniques(
( As( twentieth( contemporary( music( took( on( a( more( creative( and( artistic( direction,(
improvisation( integrated( extended( techniques,( portraying( more( skills( than( originally(
required( on( a( musical( instrument.( Extended( techniques( are( unconventional( and( nonO
traditional( methods( of( performing( a( musical( instrument( to( achieve( unique( sounds( and(
timbres.(Hector(Berlioz’s(use(of(the(col#legno((strike(the(string(with(the(stick(of(the(bow)(in(
his( Symphonie# Fantastique( in( 1830( was( the( initial( implementation( of( extended( techniques(
on( a( traditional( musical( instrument.( This( sprouted( the( interest( and( progression( in(
compositional( styles( where( contemporary( composers( are( often( creating( new( sounds( and(
timbres( to( implement( within( their( pieces( of( music.( Other( forms( of( extended( techniques(
include(whispering(vocals,(multiphonics(and(flutter(tonguing(on(wind(and(brass(instruments,(
bowed(cymbals,(the(prepared(piano((devised(by(John(Cage,(Fig.(14),(and(many(others(that(
are( constantly( undergoing( transformation( or( have( yet( to( be( invented.( This( stretches( the(
limitations( of( sound( production( from( musical( instruments,( while( also( expanding( the(
techniques(and(skills(of(performing(musicians.((
Fig.(14:(John(Cage’s(prepared(piano((1947)(
(
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Music(Improvisation(
Current( trends( in( the( music( scene( not( only( include( integration( of( extended(
techniques,(but(also(the(notion(of(improvisatory(music.(This(realOtime(performative(element(
in( music( challenges( the( coordination,( innovation( and( immediate( synchronised( creation(
among( collaborating( musicians.( Improvisation( has( a( history( back( to( the( Baroque( and(
Classical( era;( the( former( having( improvised( chord( voicings( formed( around( figured( bass(
notation,(and(the(latter(consisting(of(the(cadenza(in(a(concerto(or(other(musical(work(where(
soloist( present( virtuoso( techniques( on( their( acquired( musical( instrument.( Music(
improvisation( popularised( in( the( twentieth( century,( playing( a( significant( role( in( genres( of(
that(era(specifically(in(jazz,(blues(and(contemporary(music.(Music(improvisation(incorporates(
performance( with( the( delivery( of( emotion,( instrumental( techniques,( and( spontaneous(
responses.(Extended(techniques(are(also(often(used(in(free(improvisation.((
( Extended(techniques(and(free(improvisation(are(constantly(evolving,(differing(from(
composerOtoOcomposer,( musicianOtoOmusician,( and( artistOtoOartist.( With( such( practices( onO
going(within(musical(performance,(the(technological(skills(that(music(producers(possess(are(
also( under( the( influence( to( expand( and( explore( beyond( original( practices.( ‘A( new( form( of(
engagement( with( the( film( medium( involved( a( shift( from( the( musical( analogy( towards( the(
material(foundations(and(operative(processes(for(structuring(audioOvisions.’56(As(mentioned(
in(the(previous(section(on(the(audiovisual(relationships,(artists(Len(Lye,(Hy(Hirsch(and(Harry(
Smith( also( examine( rhythmic,( physical( and( dynamic( impressions( based( on( improvisation(
methods,(incorporating(it(as(a(participative(element(of(their(works.(Film(artists(that(perform(
their( animations( live( include( Lilian( Schwartz( with( OnYline( in( 1976,( Stan( VanDerBeek( with(
Poem# Field( in( 1964O1967,( and( Calculated# Movements( that( explored( concepts( of( music( and(
sound(by(Larry(Cuba(in(1985;(all(being(accompanied(with(musical(improvisations(within(the(
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56
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performance( context.( These( musical( improvisation( performances( corresponded(
simultaneously(to(the(projection(of(abstract(moving(images.(((
Creative(and(Artistic(Aesthetics(with(Interdisciplinary(Practice(
The(above(trends(emerged(through(the(development(of(crossOgenres(and(where(‘the(
autonomous(dynamic(of(artistic(evolution(reaches(and(passes(the(limits(of(the(given(genre(
before( a( new( technique( appears( and( is( thankfully( adopted.’57(With( the( vast( amount( of(
technological( tools( available,( artists( are( constantly( seeking( and( acquiring( these( tools( for(
realisations(of(their(works.(These(technological(progresses(create(new(artistic(dynamics(and(
innovation,(giving(rise(to(new(practices(through(combinations(of(art(forms.(
‘New( research( trends( appear( which( give( rise( to( interO,( multiO( and( transdisciplinary(
relationships(based(on(the(exchange(of(ideas,(conceptions,(materials(and(techniques,(at(the(
service( and( in( the( interest( of( the( artist’s( own( expression.’58(Technological( advances( thus(
signify( the( prominence( of( digital( manipulation( of( audio,( visuals( and( audiovisuals( as( an(
opening( to( communication( and( knowledge( learning( across( different( art( practices.( While(
increasing( the( potential( of( artistic( creation,( envisions( that( were( previously( unrealisable(
could(now(be(achieved(through(interdisciplinary(practices.(Through(the(notion(of(audiovisual(
performance,( the( interdisciplinary( nature( between( sound( and( image( ‘permits( related(
reflective( thinking( and( theoretical( discourse( to( be( diffused( and( therefore( associated( and(
located( within( other( disciplines’ 59(to( be( brought( together( to( practice( and( be( presented(
within(an(entity.(The(current(practice(of(praxis(is(also(often(established(ahead(of(theoretical(
findings.(Within(the(contemporary(art(scene,(practical(explorations(to(initiate(and(examine(
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57
(Dieter(Daniels,(‘The(Age(of(Modernism(–(Art(in(the(20th(Century,’(published(in(conjunction(
with(the(exhibition(at(MartinOGropiusOBau,(Berlin,(Germany,((Stuttgart:(Hatje(Verlag,(1997).#
58
(Eva(Figuerars(Ferrer,(‘Creative(and(Multidisciplinary(Etching(in(the(Digital(Age,’(
International#Journal#of#Humanities#and#Social#Science#Invention#2#(2013)(8:(32O34,(accessed(
July(19,(2016,(http://diposit.ub.edu/dspace/handle/2445/53452(
59
(Dieter(Daniels(and(Sandra(Naumann,(ed.,(See#This#Sound.#Audiovisuology:#Compendium,(
(Vienna:(Ludwig(Boltzmann(Institute,(2015),(15.(
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ideas( bring( about( the( modernity( of( interdisciplinary( practices.( Constant( and( generally(
unpredictable(results(produce(hybrids(of(new(creation(that(will(be(further(on(developed(and(
embellished(in(infinite(loops(and(cycles.(
4.5'Problems'in'Current'Research'and'Literary'Documentation'
Despite(having(literature(and(documented(text(regarding(the(field(of(audiovisual(art,(
there(is(a(lack(in(emphasis(regarding(the(viewpoint(of(audiovisual(artists(who(started(out(as(
musicians(and(are(producing(their(own(soundtracks(to(selfOcreated(visuals.(The(perspectives(
from( practitioners( of( audiovisual( moving( from( one( form( of( art( practice( to( interdisciplinary(
approaches(are(worth(researching(and(documenting,(specifically(from(the(practice(of(music(
production.(
( The(aesthetic(aspect(of(having(visuals(presented(together(with(music(is(also(worth(
examining;(have(different(meanings(been(achieved(from(the(outcome(of(audiovisual(works,(
and(how(visuals(enhances(the(musical(element(are(questions(to(be(examined.(This(field(of(
documentation( is( also( an( underOresearched( area,( prominently( having( audiovisual(
documentation( from( the( perspectives( of( film( practitioners( and( media( artists.( Audiovisuals(
being(a(relatively(new(and(constantly(evolving(topic(has(potential(in(the(future,(along(with(
technological( advances( as( well( as( the( blurring( and( convergence( of( artistic( roles.( Music(
producers(are(put(into(focus(as(they(are(in(control(of(the(overall(production(of(music,(thus(
the(works(produced(by(them(are(results(of(individual(creativity(and(artistic(intents.((
Documentation(and(literature(in(the(field(of(audiovisual(is(constantly(expanding(and(
undergoing( research.( While( technological( accessibility( and( software( tools( allow( for( natural(
combinations( of( visual( and( auditory( structures,( it( also( constitutes( to( the( ‘lack( of( thorough(
research( and( accurate( scholarship( …( and( the( quantity( of( works( made( without( previous(
! Y3836419((((((((33!
research( or( knowledge.’60(This( goes( on( in( a( cycle( where( documentation( is( not( as( regularly(
written( on( contemporary( audiovisual( productions.( ‘In( order( to( create( the( necessary(
theoretical( arena( to( deal( with( the( specificities( of( the( practices( in( contemporary( terms,(
descriptive(documents(are(necessary(to(be(identified.’61(Independent(artists(not(associated(
with(universities(or(educational(institutions(often(have(no(financial(initiatives(to(document(
and( communicate( their( thought( and( creative( processes.( This( constitutes( to( the( lack( of(
reflection(and(personal(analysis(in(the(audiovisual(field(of(their(own(works.(Existing(research(
is( contributed( from( media( artists( who( are( also( academics.( Points( of( views( from( musicians(
often(come(from(Ph.D.(theses(if(musicians(themselves(produce(an(audiovisual(portfolio(with(
a( written( commentary;( for( example( Mick( Grierson( (University( of( Kent,( 2005),( Niall( Moody(
(University(of(Glasgow,(2009),(Nicholas(D.(Cope((University(of(Sunderland,(2012),(Theo(Burt(
and( Timothy( Wright( (University( of( York,( 2012( and( 2013),( Andrew( Hill( (De( Montfort(
University,( 2013),( Mark( I.( Pilkington( (University( of( Manchester,( 2013),( David( Payling(
(Staffordshire(University,(2014)(and(others(around(the(globe.(However,(it(can(be(seen(that(
there( is( an( increasing( demand( for( producing( works( of( interdisciplinary( medium( in( recent(
years.(
With(a(background(in(music(and(majoring(in(the(area(of(music(production,(I(am(also(
currently(conducting(and(producing(works(of(audiovisual(material.(This(paper(thus(presents(
my(take(and(perspective((in(the(context(of(the(musician,(music(producer(and(sound(artist)(
on(the(area(of(audiovisual(arts.( (
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61
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5.'LITERATURE'REVIEW(
Existing( research( and( academic( texts( on( the( topic( of( sound( and( visuals( collaboration(
(intermedia)( focuses( on( the( movement( of( their( convergence.( This( led( on( to( the( art( of(
audiovisual( practices,( where( research( and( literature( examine( the( connections( and(
relationships( between( both( artistic( fields.( This( field( of( study( is( also( constantly( undergoing(
theoretical(and(practiceObased(research,(where(academics(that(are(also(professionals(in(this(
field(document(their(thought(processes(and(achieved(outcomes.(This(provides(documented(
background(information(regarding(contemporary(audiovisual(works.(
This(chapter(gives(a(contextual(review(of(the(literature(that(is(relevant(to(audiovisual(
research.( Areas( of( discussion( include:( movement( in( art( and( technology( –( specifically(
audiovisual( art;( connections( and( relationships( between( audio( and( visual( that( allow( such(
collaborations;( and( lastly( existing( artists,( practitioners( and( academics( within( this( field( of(
study.( The( majority( of( the( relevant( literature( has( appeared( in( the( last( few( decades( of( the(
twentieth( century,( especially( through( technological( advances,( interdisciplinary( trends( and(
the( Fluxus62(movement( that( accelerated( this( collaborative( form( of( art( in( the( 1960s.( During(
this( period( of( time,( artists( were( constantly( experimenting( new( methods( of( practice.(
Thereafter,(academics(were(finding(reasons(for(such(universalism(in(the(modern(world.(
'
5.1'Movement'in'Art'and'Technology'(Audiovisual)''
( Rapid( technological( advances( in( the( twentieth( century( have( broadly( enhanced( the(
movement( in( art( and( technology.( This( introduced( the( ‘merging( of( arts,( technological(
innovation,(and(the(search(for(new(artistic(forms(of(expression.’63(This(common(occurrence(
finds( musicians,( and( specifically( music( producers,( mostly( working( on( their( own( laptop(
computers( for( music( production.( Especially( with( the( ‘bedroom( studio’( movement,(
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62
(Jon(Hendricks,(Fluxus#Codex((USA:(Harry(N.(Abrams,(Inc,(1988).(
63
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independent( artists( are( creating( their( own( works( utilising( their( own( capabilities( and(
equipment,( after( which( distributing( their( works( through( online( platforms( that( include(
YouTube,(SoundCloud,(Bandcamp,(Spotify(and(iTunes(amongst(others.(
( With( the( popularity( and( accessibility( of( digital( technologies( and( the( media,( artists(
are(able(to(create(and(produce(works(that(they(envision.(Firstly,(digital(media(enabled(them(
to( engage( with( current( works( and( trends( through( web( interviews,( artist( and( event(
promotions,( reviews,( as( well( as( themeOspecific( magazines.( Artists( are( able( to( explore( the(
realm( of( contemporary( arts( through( online( and( social( platforms( and( get( influences( from(
them.( ‘Media( gradually( started( taking( over( an( area( of( human( perception( that( used( to( be(
reserved( for( the( classical( arts( and( their( various( genres.’64(With( diverse( media( influences,(
movement( in( the( arts( is( greeted( with( new( innovative( aesthetic( concepts.( One( such(
movement(is(the(incorporation(of(visuals(into(music(–(albeit(having(music(to(visuals(being(an(
established( art( form( in( Film( and( Cinema.( ‘Digital( technologies( expand( all( previously(
conceived( possibilities( for( linking( and( manipulation( the( visual( and( auditory.’65(This( made( it(
possible(for(musicians(and(filmmakers(to(combine(art(forms(with(technically(easier(methods,(
and( induced( the( notion( for( imageOtoOsound( and( soundOtoOimage( coherences.( This( initiated(
the( link( between( audio( and( visual( relationships( that( are( mediated( through( new( media(
technologies.(As(this(crosses(the(separate(professions(of(the(audio(and(film(industries,(artists(
are(now(able(to(create(works(on(their(own(without(the(need(to(crossOcollaborate(with(artists(
of(another(industry(that(often(involves(more(time,(connections,(funding,(as(well(as(faith(and(
trust( between( collaborators.( With( software( tools( that( can( be( installed( in( any( computers,(
amateurs( are( able( to( explore( on( their( own,( creating( works( that( adhere( to( their( preferred(
working(styles(and(methods.((
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64
(Dieter(Daniels,(‘Media(→(Art(/(Art(→'Media:(Forerunners(of(media(art(in(the(first(half(of(
the(twentieth(century,’(Media#Art#Net:#Overview#of#Media#Art,(2004,(accessed(June(30,(2016,(
http://www.medienkunstnetz.de/themes/overview_of_media_art/forerunners/(
65
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The(access(to(tools(that(are(confined(to(professionals(in(the(industry(or(the(wealthy(
is(now(demolished,(albeit(having(differences(between(amateur(and(professional(equipment.(
Nonetheless,( the( ‘bedroom’( producers( of( music,( film( and( audiovisuals( can( achieve( selfO
creation( and( production( of( works( through( such( accessibility.( Film( production( requires( a(
significant( amount( of( budget( for( a( professional( and( commercial( presentation( as( compared(
to( commercial( music( releases,( thus( some( differences( are( spotted( between( the( ‘bedroom’(
film(producers(and(the(‘bedroom’(music(producers.(‘Bedroom’(music(producers(are(able(to(
create( commercial( products( without( a( budget( as( huge( as( film.( This( makes( the( music(
producer( a( good( candidate( for( crossing( to( multimedia( production,( acquiring( all( the( tools(
needed( within( an( individual( laptop.( Independent( artists( that( create( their( own( films( and(
music(are(often(labelled(under(the(Indie(genre,(where(abstract(and(contemporary(methods(
are(expected(and(anticipated.(
( Through(the(presentation(of(both(audio(and(visuals,(more(information(regarding(the(
artwork(can(be(represented(at(a(higher(sensory(level.(Producing(works(that(are(focused,(or(
enunciates( connections( between( sound( and( image,( form( new( connections( including( the(
‘transmutability( of( digital( data,( generative( autonomy( and( interactive( performativity.’66(This(
cycle( is( a( neverOending( loop( that( provides( artists( positive( feedback( into( producing( future(
works(of(new(aesthetic(creation(and(combination.(Digital(and(software(technologies(brought(
about( the( generation( of( technological( dominance,( setting( the( essentials( for( the( modern(
digital( era.( This( leads( to( the( interOrelationships( between( audiovisual( works( through( the(
presentation( of( sound( and( image( within( the( same( medium,( diversifying( the( relations(
between(machineObased(audio(and(visuals(coherences.(
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66
(Luísa(Ribas,(‘Audiovisual(Dynamics:(An(approach(to(Sound(and(Image(Relations(in(Digital(
Interactive(Systems,’(xCoAx#2013:#Proceedings#of#the#first#conference#on#Computation#
Communication#Aesthetics#and#X((2013):(17O28.(
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5.2'Connections'and'Relationships'between'Audio'and'Visuals''
Oscilloscope(Waveform(Representations(of(Sound(
The(initial(notion(of(visualising(sound(through(digital(means(began(with(oscilloscope(
waveforms( that( often( accompanied( analogue( synthesizers( and( other( soundOproducing(
devices.( Waveforms( that( display( the( frequency,( amplitude( and( temporal( functions( made(
‘sound’(not(only(an(auditory(but(also(a(visual(informative(experience(for(pioneer(electronic(
and( computer( musicians.( This( aspect( of( coherence( intrigued( many( pioneer( experimental(
filmmakers,( where( they( execute( their( film( making( from( a( musical( approach.( Experimental(
filmmaker( Ellen( Mary( Bute( explored( the( waveform( as( a( foundation( interlinking( the( visual(
and(auditory,67(seen(in(works(Abstronic((1952,(Fig.(15)(and(Mood#Contrasts((1956).((
Fig.(15:(Abstronic(by(Mary(Ellen(Bute((1952);(music(captured(on(the(Cathode(Ray(
Oscilloscope,(filmed(with(the(motion(picture(camera(
(
Pioneers(of(such(practice(also(include(Norman(McLaren(in(Around#is#Around((1950),(
Hy( Hirish( in( Divertissement# Rococo( (1951),( Come# Closer# (1952)( and( Eneri( (1953).( Bute( was(
also( inspired( by( Joseph( Schillinger’s( mathematical( System( of( Musical( Composition( (1946).(
This(is(a(unique(occurrence(as(Schillinger’s(compositional(process(that(involved(theories(of(
rhythm,( harmony,( melody,( counterpoint( and( form,( also( had( semantics( as( a( significant(
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67
(Jan(Thoben,(‘Technical(soundOimage(transformations,’(in(Audiovisuology:#Compendium,(
ed.(Dieter(Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(
2010),(424O437.(
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aspect.68(Semantics(portray(emotional(meaning,(which(can(be(linked(to(music(accompanying(
or(specifically(made(for(films,(composed(to(bring(out(the(empathetic(emotion(of(the(scenes(
within(the(film.(Schillinger(thus(devised(this(system(in(the(hope(to(form(close(relationships(
between(music(and(image.(Prominent(examples(include(horror(or(ominous(films(where(the(
sonorous(and(compositional(style(of(music(portrays(the(visuals(specifically(to(a(certain(genre(
or(emotion.(This(heightens(the(relationship(between(sound(and(image(through(the(support(
of(pioneer(music(theorists(and(filmmakers(adopting(this(concept(for(their(practices.(
Music(as(Mediator(in(Bridging(Art(Forms(
With( this( concept( of( visualisation,( sonification( could( be( said( to( be( its( parallel(
approach.(Sonification(is(‘the(transformation(of(data(relations(into(perceived(relations(in(an(
acoustic(signal(for(the(purposes(of(facilitating(communication(or(interpretation.’69(The(use(of(
audio( means( to( convey( and( translate( information( and( concepts( are( often( presented( as(
supplement( and( accompaniment( to( visualisations.( Audio( can( also( modify( the( original(
meaning( and( purpose( of( the( visual( elements( –( each( playing( a( determining( role( in( the(
‘enforced( temporal( or( physical( compatibility( between( media( or( between( media( and(
bodies.’70(
( Within(this(notion(and(method(of(practice,(music(assumed(a(significant(role(as(the(
integrative(mediator(in(the(arts,(‘addressing(itself(to(the(general,(the(universal,(through(its(
perceived( immateriality.’71(Examples( of( such( practice( include( works( of( painter( Paul( Klee,(
where( he( ‘defined( relationships( between( elements,( formal( sequences,( and( compositional(
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68
(Joseph(Schillinger,(Schillinger#System#of#Musical#Composition((New(York:(Carl(Fischer,(Inc.,(
1946).(
69
(Gregory(Kramer,(et(al.,(The#Sonification#Report:#Status#of#the#Field#and#Research#Agenda,(
(Sante(Fe,(NM:(International(Community(for(Auditory(Display((ICAD),(1999).(
70
(Mara(Mills(and(John(Tresch,(‘Introduction:(Audio/Visual,’(in(Grey#Room#43,#Spring#2011(
(Massachusetts:(Grey(Room,(Inc.(and(Massachussetts(Institute(of(Technology,(2011),(9.##
71
(Simon(ShawOMiller,(Visible#Deeds#of#Music:#art#and#music#from#Wagner#to#Cage,((New(
Haven,(CT:(Yale(University(Press,(2002),(56.(
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arrangements( by( transposing( principles( such( as( polyphony( or( counterpoint( into( pictorial(
space.’72(It(is(interesting(to(examine(such(thought(processes(and(enquire(about( the(artists’(
notion( of( such( movement( into( creating( abstract( forms( of( art( convergences.( Sound( and(
visuals(are(thus(combined(to(produce(abstract(indications(of(their(intimate(connections(and(
developed(correlations(over(time.(
Parameters(of(Audiovisual(Convergence(
Technological(tools(bridge(audio(and(visuals(into(a(synchronised(unity,(allowing(for(
this( phenomenon( of( convergence( between( two( distinct( art( forms( through( ‘exploring( the(
possibilities(of(software(and(proposing(potentially(unique(dynamic(configurations(of(images(
and( sounds.’ 73 (This( not( only( forms( new( synthesis( between( different( forms( of( creative(
production( and( presentation,( but( also( diversifying( their( original( methods( of( articulation.(
Luísa(Ribas(examines(this(movement(within(the(creation(of(abstract(film(and(cinema(works,(
where( ‘the( emergence( of( analogue( electronic( technologies( provided( the( means( for( the(
interactive(manipulation(of(audiovisual(signals.’74(
With(the(close(relationship(between(audio(and(visuals(becoming(more(established,(
the(aspect(of(temporal(parameters(is(evident(in(both(audio(and(visual(works,(making(time(a(
significant( component( of( audiovisual( coherence.( Temporal( parameters( could( then( be(
translated(into(space,(as(outlined(in(Chapter(4.(Also(mentioned(previously(regarding(music(in(
film( as( an( emotive( element,( music( also( provides( means( for( organising( time( and( structure.(
During( the( era( of( experimental( music( and( video,( ‘electronic( sound,( in( its( openness( to(
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72
(Karin(von(Maur,(‘Bach(et(l’art(de(la(fugue:(Modèle(structurel(musical(pour(la(creation(d’un(
language],’(in(Sons#et#Lumières:#Une#histoire#du#son#dans#l’Art#du#XXè#Siècle#;#ouvrage#publié#
[Sounds#&#Lights:#A#history#of#sound#and#art#of#the#twentieth#century#;#book#published],(
(Paris:(Éd.(du(Centre(Pompidou,(2004),(17O27.(
73
74
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interference( and( interaction,( would( provide( the( operative( model( for( video.’ 75 (Yvonne(
Spielmann(examines(the(digital(relationships(between(visuals(and(electronic(sound(whereby(
video,(or(digital(visuals,(is(defined(by(the(modification(of(electronic(signals,(implying(signal(
processing(techniques(rather(than(film(recording.(Artists(employ(these(methods(of(practice(
in(the(exploration(and(experimentation(through(the(establishment(of(video(synthesizers(and(
image( processing( techniques. 76 (The( initiation( of( utilising( audio( and( video( synthesizers(
eventually(led(on(to(contemporary(audio(and(visual(coding(practices,(often(programmed(and(
coded( using( audiovisual( software( like( Max# MSP,( Processing( and( SuperCollider.( These(
softwares( enable( for( realOtime( applications( and( manipulation( of( visuals( and( sound,( while(
also(introducing(the(emergence(of(‘an(artificial(world(of(sound(and(images(…(one(which(can(
be(generated(by(machines(alone.’77((
( Laurie( Spiegel( developed( a( pioneer( computer( system( that( was( adept( for( realOtime(
audio(and(visual(synthesis(at(Bell(Laboratories.(The(Video#And#Music#Program#for#Interactive#
RealYTime# Exploration/Experimentation( (VAMPIRE,( 1974O76)( enabled( parameter(
modifications( to( modulate( and( control( image( and( sound( performance( in( realOtime( –( a( live(
production( of( audiovisual( art.( With( technological( advances( on( the( personal( computer,( the(
usage(and(capabilities(of(audiovisual(software(expanded;(including(Max#MSP,(Processing(and(
SuperCollider( as( mentioned( previously,( together( with( the( increased( possibilities( for( the(
composition,( assembly,( interaction( and( generation( of( audiovisual( works.( Similar( creations(
associated( with( the( VAMPIRE( include( the( idea( of( drawnOsound( technique( Oramics( (1957)(
designed(by(Daphne(Oram.(From(this(concept,(the(modelling(of(software(descendent(IanniX#
was(developed,(which(was(based(on(the(ideas(and(processes(of(Iannis(Xenakis(–(operating(
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75
76
(Yvonne(Spielmann,(‘Video,(an(audiovisual(medium,’(in(Audiovisuology:#Compendium,(ed.(
Dieter(Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(
2010),(314O325.(
77
(Peter(Weibel,(‘The(apparatus(world(–(a(world(unto(itself,’(in(Eigenwelt#der#Apparatewelt:#
pioneers#of#electronic#art,((Linz:(Arts(Electronica,(1992),(17.(
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the(same(functions(of(realOtime(audiovisual((digital(art)(manipulation.(Along(with(Bute,(the(
Cathode( Ray( Oscilloscope( also( inspired( Oram,( in( which( the( Oramics# Machine( (Fig.( 16)( was(
built(based(upon(the(Cathode(Ray(Tube.((
Fig.(16:(Daphne(Oram’s(graphical(music(system,(the(Oramics(Machine#(1957)(
Digital( manipulation( and( convergence( of( audio( and( visuals( led( on( to( new( creative(
forms( of( audiovisuality,( both( as( continuum( and( diversion( of( previous( forms.( These( new(
forms( become( more( established( the( more( they( are( developed( through( computational(
(softwareObased)( practices.( The( field( of( digitally( created( audiovisual( art( focuses( on(
‘computer( software( as( its( medium,( and( is( primarily( concerned( with( (or( is( articulated(
through)( relationships( between( sound( and( image.’78(Works( diversify( according( to( different(
motivations( and( artistic( use( of( computers,( either( through( algorithmic( processes79(or( as( an(
instrument(utilised(for(interaction.80((
The(aboveOmentioned(creative(processes(are(similar(to(the(practical(processes(of(a(
music( producer( –( from( preOproduction,( actual( recording,( postOproduction( to( producing( a(
completed( work.( Music( producers( are( constantly( finding( and( creating( new( sounds,( styles(
and(genres(to(contribute(to(the(already(diverse(music(genres(available(on(the(market.(These(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
78
(Golan(Levin,(‘Audiovisual(Software(Art,’(in(Audiovisuology:#Compendium,(ed.(Dieter(
Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(2010),(270.(
79
(Matthias(Weiss,(‘What(is(Computer(Art?(An(attempt(towards(an(answer(and(examples(of(
interpretation,’(Media#Art#Net:#Generative#Tools,(2005,(accessed(July(01,(2016,(
http://www.medienkunstnetz.de/themes/generativeOtools/computer_art/(
80
(Myron(Krueger,(‘Responsive(Environments((1977),’(in(The#New#Media#Reader,#ed.(Noah(
WardripOFruin(and(Nick(Montfort((Cambridge,(MA:(MIT(Press,(2003).(
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sounds(could(be(made(from(audio(synthesis(methods,(audio(sampling(or(editing,(and(effect(
manipulating( a( recording;( similar( to( methods( used( to( create( visual( works.( SelfOproducing(
musicians( also( experiment( with( various( techniques( and( production( methods( to( find( their(
preferred(style(or(music(identity,(breaking(boundaries(and(forming(new(aesthetics.(Similarly(
with(digital(technology(and(the(personal(computer,(music(producers(can(selfOcollaborate(to(
produce( works( that( once( needed( specific( personnels( for( certain( roles;( thus( being( an(
interdisciplinary(topic(of(exploration.(These(interlinked(connections(abound(between(music(
production(and(audiovisual(creations(are(to(be(examined(in(this(paper.((
Future(Movements(in(Audiovisual((
Within(this(section(of(the(literature(review,(I(have(mentioned(movements(of(audio(
and(visual(experimentations,(their(similarities(in(methodologies(and(practical(practices(over(
the( years,( as( well( as( connections( between( the( professions( of( film( and( music.( With( digital(
technology(constantly(advancing(throughout(the(years,(the(future(movements(in(audiovisual(
is( unpredictable,( but( promising.( The( fundamental( characteristics( of( digital( technology(
contain( potential( for( expansion,( notably( the( ‘transformative,( processOoriented,(
multidimensional,(openOended’81(forms(of(creation.(Controlling(audio(and(visual(parameters(
enhances(the(performative(aspect(as(a(realOtime(presentation(of(the(audiovisual(production(
process,(where(the(technical(coherence(between(audio(and(visuals(allow(for(the(nature(of(
contemporary( interdisciplinary( practice.( Future( research( will( be( done( on( interactivity( and(
performative( aspects( of( such( collaboration( between( art( forms,( as( well( as( the( resultant(
sensory(and(perceptive(analogies.(
( Despite( the( amount( of( leading( research( regarding( music,( visuals( and( their(
combinations,( the( term( ‘audiovisual’( becomes( ubiquitous( but( also( ambiguous( within( its(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
81
(Yvonne(Spielmann,(‘Video(and(Computer:(The(Aesthetics(of(Steina(and(Woody(Vasulka,’(
Daniel#Langlois#Foundation#(2004)(8,(accessed(July(02,(2016,(http://www.fondationO
langlois.org/html/e/page.php?NumPage=461(
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contemporary( expressions.( Golan( Levin( examines( this( reason( ‘owing( to( this( diversity( of(
origins(and(intents,(the(formal(scope(of(what(might(be(considered(audiovisual(software(art(is(
quite( large( as( well.’82(Taking( a( prospective( approach( in( experimenting( through( software(
production,( unique( configurations( of( audio( and( visuals( can( be( realised.( ( Sandra( Naumann(
states( the( similar( parameters( within( the( structuring( of( audiovisual( works( incorporating(
musical( aspects( such( as( ‘abstraction,( time,( expansion( into( space,( and( realOtime( production(
and(liveness,’(as(mentioned(eminently,(can(also(be(interpreted(to(complement(the(notion(of(
‘musicalisation(of(the(visual(arts.’83(This(emphasises(the(role(music(continues(to(play(in(the(
configuration(of(audiovisual(experiences,(exploring(the(shared(relationships(between(music(
and( image( as( ‘dimensions,( structures,( methods,( and( procedures,( as( well( as( technological(
foundations( (material( and( processual).’84(Producers( of( music( and( film( are( thus( progressing(
towards( the( creative( possibilities( of( media( and( art( convergence,( reshaping( audiovisuality(
through(digital(experimentation(of(speculative(and(prospective(practices(in(their(individual(
aesthetic( intents.( With( the( genetic( abundance( of( possible( content( and( structures,( the(
composition( of( audiovisual( works( is( constantly( developing( and( changing.( This( highlights( a(
move(and(challenge(towards(the(variable(and(indeterminable(audiovisuality(through(multiO
modal( experiences,( multimedia( processes( and( performances;( defining( individual( meaning(
and(experience(that(remain(to(be(examined(and(practiced(in(future(research.(
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82
(Golan(Levin,(‘Audiovisual(Software(Art,’(in(Audiovisuology:#Compendium,(ed.(Dieter(
Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(2010),(271.(
83
(Sandra(Naumann,(‘The(Expanded(Image:(On(the(musicalisation(of(the(Visual(Arts(in(the(
Twentieth(Century,’(in(Audiovisuology#2:#Essays,(ed.(Dieter(Daniels(and(Sandra(Naumann(
(Cologne:(Verlag(der(Buchhandlung(Walther(König,(2010).(
84
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5.3'Artists,'Practitioners'and'Academics'
( Lastly,( this( section( documents( the( personnel( associated( with( such( art( practices,(
starting( from( its( initial( pioneers,( to( the( independent( and( contemporary( artists,( and(
academics(that(are(also(professionals(in(the(media(industry.(
Pioneers(
( Adding( on( to( the( list( of( artists( mentioned( previously,( other( existing( artists(
participated(and(contributed(to(the(convergence(of(music(and(visuals(in(their(own(form(of(
practices.((
( Walter(Ruttmann(initiated(a(new(model(of(‘painting(with(time’((Malerei#mit#Zeit)(in(
1919,( defined( to( bring( ‘an( entirely( new( kind( of( lifeOfeeling( into( artistic( form.’85(Ruttmann(
explored( the( time( element( of( music( and( the( multiOmodal( aesthetics.( With( music( as( a(
structure(for(a(visual(art,(Ruttmann(then(explored(sound(montages86(in(Berlin:#Symphony#of#
a# Metropolis( (1927)( and( Weekend( (1930,( Fig.( 17),( where( these( ‘films’( were( premiered(
without(pictures,(focusing(instead(on(the(perception(of(sound(from(spectators.(This(editing(
technique( formed( the( basis( of( Musique( Concrète,( this( movement( which( was( later( led( by(
Pierre(Schaeffer.(Musique(Concrète(and(sound(montages(operate(by(using(realOtime(events,(
manipulating(and(compositing(them(into(a(story(sequence.(The(aspect(of(data(alteration(will(
be(examined(further(in(the(next(chapter.(The(work(of(Ruttman(was(not(only(as(a(new(avantO
garde(artist,(but(also(encompassing(the(creative(possibilities(of(media(technologies.(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
85
(Heike(Helfert,(‘Technological(Constructions(of(SpaceOTime:(Aspects(of(Perception,’(Media#
Art#Net:#Overview#of#Media#Art,(2004,(accessed(July(03,(2016,(
http://www.medienkunstnetz.de/themes/overview_of_media_art/perception/(
86
(Dieter(Daniels,(‘Sound(&(Vision(in(Avantgarde(&(Mainstream,’(Media#Art#Net:#Sound#and#
Image,(2005,(accessed(July(03,(2016,(http://www.mediaartnet.org/themes/imageO
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Fig.(17:(Walter(Ruttman’s(sound(montage,(Weekend((1930)(
The(notion(of(music(and(visual(crossOinfluences(is(also(observed(in(the(works(of(Nam(
June(Paik,(where(he(applies(the(approaches(of(John(Cage’s(Experimental(Music(to(Electronic(
Television.( Visuals( and( sound( are( interpreted( and( correlated( within( the( analogue( to(
electronic( spectrum,( where( Paik( ‘inaugurates( the( road( to( manipulable( images( through(
sound.’87(
Early(works(of(Steina(and(Woody(Vasulka(approached(an(interest(in(simultaneously(
processed( and( displayed( video( through( the( notion( of( soundOaffected( visuals( –( using(
feedback(loops(and(audio(synthesiser(inputs(to(manipulate(the(resultant(video(in(realOtime,(
seen( in( Soundsize( (1974).( They( were( one( of( the( first( starters( of( realOtime( audiovisual(
processing(and(production,(and(will(be(mentioned(later(in(Chapter(7(as(well.(
With(the(advent(of(the(first(computers,(John(Whitney(materialised(musical(qualities(
in( abstract( dynamic( forms( as( a( prominent( pioneer( of( this( movement.( ‘He( finds( in( the(
computer(the(means(to(define(precise(compositional(relations(between(visual(elements(and(
88
music.’ (Whitney( went( on( to( develop( an( audiovisual( composition( software( that(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
87
(Katja(Kwastek,(‘SoundOImage(Relations(in(Interactive(Art,’(in(Audiovisuology:#Compendium,(
ed.(Dieter(Daniels(and(Sandra(Naumann((Cologne:(Verlag(der(Buchhandlung(Walther(König,(
2010),(162O175.(
88
Divergence#Press#Journal#Issue(2((June(2014),(accessed(July(03,(2016.(
! Y3836419((((((((46!
synchronised(digital(graphics(with(music.(Also(based(on(sound(oscillations((similar(to(Oram(
and(Bute),(his(WhitneyYReed#RadiusYDifferential#Theta#Differential((RDTD)(program(was(able(
to(generate(imagery(synchronised(to(music.(His(piece(Permutations(was(produced(using(the(
RDTD( software( in( 1968.( The( compositional( and( performance( aspect( of( audiovisuals( are(
further( explored( by( Lilian( Schwartz’s( Pixillation( (1970)( where( computerOproduced( images(
combine(with(MoogOsynthesised(sounds;(Stan(VanDerBeek’s(Poem#Field#(1964Y67),(together(
with( Larry( Cuba’s( Calculated# Movements# (1985)( are( amongst( some( of( the( visual( artists(
where( their( visual( works( were( portrayed( in( a( performance( context,( having( computer(
generated( visuals( accompanied( with( music( as( mentioned( in( Chapter( 4( as( well.( This(
interdisciplinary(movement(led(to(‘graphic(music(films’,(where(projections(of(abstract(visuals(
were( responded( to( with( musical( improvisations;( once( again( diversifying( the( notion( of(
audiovisuals(in(the(embodiment(of(technology(and(the(analogue.(((
Independent(and(Contemporary(Artists(
(‘Sound( and( image( relations( considering( contemporary( practices( that,( in( their(
diversity,( often( move( ahead( of( theory.’ 89(This( phenomenon( is( seen( within( independent(
artists( that( are( constantly( involved( in( creative( practice,( experimentation( and( exploration.(
New(techniques(and(methods(are(created(through(the(artistic(works(of(independent(artists,(
often( exhibiting( them( in( installations,( showcases( and( performances( to( the( public.( Most(
documentation(of(such(works(would(derive(from(programme(notes,(reviews(from(audience(
and(art(critiques.(Through(these(independent(practices,(audiovisuality(is(constantly(evolving(
in(the(digital(medium,(accumulating(new(themes(and(approaches(in(interdisciplinary(forms.((
Contemporary( artists( are( also( often( more( engaged( in( creative( practice( to( create(
works(of(their(own,(which(then(constitutes(to(the(lack(of(academia(regarding(their(thought(
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89
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processes(and(their(divergence(of(specific(art(forms.(This(would(be(a(useful(field(of(research(
for(upcoming(and(constantly(increasing(academic(courses(in(Sound(Art(and(Multimedia;(for(
example(the(Bachelor(of(Arts((BA)(in(Digital(Music(and(Sound(Arts(in(Brighton,(BA(in(Music(
Production( in( Bristol,( other( institutes( in( the( United( Kingdom( including( Queens( Belfast,(
Glasgow,(Huddersfield,(Sheffield(and(Goldsmiths,(as(well(as(those(around(Europe(including(
GoetheOInstitut(in(Germany,(Rotterdam(Conservatory(of(Music(and(Institute(of(Sonology(in(
the( Netherlands( et( cetera.( These( courses( that( are( usually( under( the( Music( faculty( of( any(
college(or(university(incorporates(the(element(of(putting(music(to(films,(which(I(will(examine(
further(later(in(this(paper.(Film(is(a(media(industry(that(is(constantly(expanding,(which(also(
requires(the(support(of(sound(and(music.(Academics(thus(had(the(foresight(to(educate(music(
students( with( additional( useful( tools( that( allowed( them( to( broaden( their( skills( not( only(
within(the(field(of(music(but(to(crossO(or(interdisciplinary(practices.(It(would(thus(be(valuable(
information(to(research(and(document(the(meanings(behind(such(movements(from(and(for(
contemporary(music(producers.(
Academics(
(‘Audiovisuology’( is( a( recently( devised( term,( defining( the( study( within( the( field( of(
audiovisual(arts(and(practices.((
‘(“Audiovisuology”(is(not(a(new(science,(but(the(intersection(of(all(existing(research(
on(audiovisual(art(forms(and(related(disciplines.(This(publication(reveals(audiovisual(
research(to(be(one(of(the(great(fields(of(experiment(in(the(modern(era(–(one(which,(
like(the(project(of(modernism(as(a(whole,(has(not(been(and(cannot(be(brought(to(a(
close.’90(
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90
! Y3836419((((((((48!
‘Audiovisuology’( is( thus( a( term( applied( on( the( study( of( audiovisual( works,( following(
examples(of(‘Musicology’(and(‘Ethnomusicology’(et(cetera.(Scholarly(analysis(and(research(in(
this( field( of( audiovisual( studies( have( been( documented( and( presented( in( the( recent(
publication( of( Audiovisuology:# A# Reader.( This( also( sprouts( interest( in( this( topic( within( the(
field(of(contemporary(art(in(this(modern(age.(
( Potential( researchers( in( this( field,( several( which( I( have( mentioned( in( this( chapter,(
include(Dieter(Daniels(and(Sandra(Naumann,(who(are(also(the(editors(of(the(Audiovisuology(
publications,(as(well(as(Luísa(Ribas,(Ana(Carvalho,(Cornelia(Lund,(Katja(Kwastek,(Golan(Levin,(
Yvonne( Spielmann( whom( contributed( as( authors( within( the( publication.( Other( academics(
that( have( contributed( to( this( field( of( study( in( external( papers( include( Eva( Figueras( Ferrer,(
Mara( Mills,( John( Tresch,( Nick( Cope,( Jack( Ox,( Cindy( Keefer( and( Maura( McDonnell( amongst(
others.(The(topic(and(field(of(study(for(each(researcher(varies;(together(combined(they(form(
a(solid(literature(that(is(constantly(expanding(in(the(field(of(sound,(image(and(audiovisuality.(
Michel( Chion( is( one( of( the( pioneer( theorist( to( investigate( this( field( of( art( with( his( various(
publications,(most(prominently(AudioYVision91(where(he#examines(the(intimate(relationships(
between(sound(and(image(collaborating(within(the(same(entity(or(world.((
While(academics(provide(the(literature(within(the(field(of(study,(their(practices(also(
contribute(to(the(support(and(development(of(new(analogies(and(theories,(especially(in(the(
arts( context.( This( notion( of( research( through( praxis( is( established( through( such( practical(
processes,( where( ‘in( pedagogy,( the( practice( is( the( horizon,( the( aim( of( the( theory,’92(often(
occurring(within(the(medium(of(art.(
Literature( discussed( in( this( chapter( examined( the( connections( and( relationships(
between(audio(and(visuals(in(terms(of(history,(interactivity,(diversity,(and(the(potential(for(
future(research(particularly(from(the(perception(of(musicians.( (
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91
(Michel(Chion,(AudioYVision:#Sound#on#Screen((New(York:(Columbia(University(Press,(1994).(
92
(Moacir(Gadotti,(Pedagogy#of#Praxis:#A#dialectical#philosophy#of#education,(New(York:(SUNY(
Press,(1996.(
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6.'AUDIOVISUAL'FROM'THE'MUSICIAN’S'PERSPECTIVE'
This( section( constitutes( the( main( part( of( this( paper,( identifying( several( important( aspects(
regarding(the(field(of(audiovisual(art(practices(with(a(focus(from(the(musician’s(perspective.(
6.1'Approaches'for'Audiovisual'Creation'
( With( temporal( functions( being( mentioned( eminently( for( audiovisual( production( in(
the( perspective( of( film( artists,( there( are( other( functions( that( adopt( significant( roles( in(
audiovisual(production.(Along(with(these(functions,(different(approaches(in(the(creation(of(
music(from(the(perspective(of(music(and(sound(makers(are(identified(as(well.'
'
Data(Sonification:(Audio(and(Visual(Parameter(Mappings(
( Data( sonification( is( ‘the( process( of( turning( scientific( data( into( sound,( including(
music.’93(It( is( not( a( new( term,( however( the( sonification( of( data( is( currently( highly( and(
intensively( researched( to( identify( its( potential( and( establish( refinements.( Collaborative(
projects( have( been( initiated( between( scientists( and( musicians( to( view( scientific( data( in( an(
auditory( manner.( Recent( projects( include( Sonicules:# Designing# drugs# with# sound 94(
undertaken( by( the( University( of( York’s( Department( of( Electronics( and( Department( of(
Chemistry( to( design( drugs( through( audiovisual( means,( as( well( as( the( Next# Generation#
Quantum# Music#95(project( by( the( National( University( of( Singapore’s( Centre( for( Quantum(
Technologies( to( produce( data( sonification( of( atoms( in( realOtime.( Other( endeavours( in(
scientific( research( with( auditory( emphasis( include( the( listening( of( the( solar( system.( Many(
composers(have(teamed(up(with(NASA(researchers(to(produce(data(sonification(of(the(solar(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
93
(Sarah(Frazier,(‘Sonification:(Data(like(you’ve(never(heard(before,’(Earthzine,(July(23,(2013,(
accessed(July(30,(2016,(http://earthzine.org/2013/07/23/sonificationOdataOlikeOyouveOneverO
heardObefore/((
94
(Sonicules,(accessed(July(31,(2016,(https://sonicules.wordpress.com/(
95
(Lin(Yangchen,(‘NUS(in(quest(to(create(nextOgeneration(“quantum(music”,’(The#Straits#
Times#(Singapore),(July(25,(2016,(B2.#(
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system,( including( solar( wind( of( the( Sun,96(the( sounds( of( Stars,97(and( dark( matter.98(Data(
sonification( practices( are( gaining( popularity,( forming( connections( between( and( among(
scientists,( researchers( and( musicians( as( data( could( now( be( both( visualised( and( ‘audified’.(
Essentially,( anything( that( has( data( could( be( sonified( to( convey( information( in( a( different(
form.(This(combination(of(interdisciplinary(practice(and(research(emphasises(and(advocates(
the(importance(in(the(field(of(audiovisual(art.(
There( are( two( prominent( methods( of( sonification( –( Parameter( Mapping( and(
Audification.( Audification( is( a( process( of( writing( data( directly( to( a( sound( file,( usually(
occurring(with(a(huge(data(set(of(large(numbers,(where(the(input(data(is(assigned(to(sound(
pressure( levels99(or( frequencies100(along( the( aspect( of( time.101(The( creation( of( audiovisual(
instruments(mentioned(in(Chapter(4(is(thus(brought(into(focus(as(‘the(historical(beginnings(
of(electronic(music(can(also(be(interpreted(as(a(history(of(Audification,(because(all(electronic(
instruments( use( electric( processes( audified( on( a( loudspeaker.’102(As( outlined( in( Chapter( 5,(
data( sonification( is( approached( not( only( in( a( scientific( way,( but( also( through( artistic( and(
creative(presentations.(Parameter(mapping(is(emphasised(in(this(paper,(as(it(is((‘perhaps((the((
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96
(VICE,(‘Using(the(Sun(to(Make(Music,’(YouTube(video,(10:42,(posted(by(‘VICE,’(January(16,(
2013,(accessed(July(31,(2016,(https://www.youtube.com/watch?v=kcqiLvHiACQ(
97
(Star(Sounds,(accessed(July(31,(2016,(
http://kepler.nasa.gov/multimedia/Audio/sonification/(
98
(Nicola(Davis,(‘If(you(could(listen(in(to(dark(matter,(just(what(would(it(sound(like?’(The#
Guardian,(February(16,(2016,(accessed(July(31,(2016,(
https://www.theguardian.com/technology/2016/feb/16/musicOfestivalOplymouthOdarkO
matter(
99
(Kasha(Patel,(‘More(Than(Meets(the(Eye:(NASA(Scientists(Listen(to(Data,’(NASA’s#Goddard#
Space#Flight#Center((September(04,(2014),(accessed(July(31,(2016,(
https://www.nasa.gov/content/goddard/moreOthanOmeetsOtheOeyeOnasaOscientistsOlistenOtoO
data/#.V5xs9JMrJn5(
100
(Bruce(N.(Walker(and(Michael(A.(Nees,(‘Theory(of(Sonification,’(in(The#Sonification#
Handbook,(ed.(Thomas(Hermann,(Andy(Hunt(and(John(G.(Neuhoff((Berlin:(Logos(Verlag,(
2011),(17.(
101
(Florian(Dombois(and(Gerhard(Eckel,(‘Audification,’(in(The#Sonification#Handbook,(ed.(
Thomas(Hermann,(Andy(Hunt(and(John(G.(Neuhoff((Berlin:(Logos(Verlag,(2011),(301O324.(
102
(Ibid,(306.(
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most(established(technique(for(sonifying((data).’103(
In(Chapter(4(of(this(paper,(I(have(identified(three(strategies(of(parameter(mappings:(
oneOtoOone,( oneOtoOmany( (divergent)( and( manyOtoOone( (convergent)( mappings.( These(
different(types(of(parameter(mappings(are(literal(in(their(operating(styles;(oneOtoOone(having(
a(single(parameter(assigned(to(one(musical(or(visual(element,(oneOtoOmany(having(a(single(
parameter( assigned( to( many( musical( or( visual( element,( and( manyOtoOone( having( multiple(
parameters( assigned( to( single( musical( or( visual( element.( According( to( Table( 1( and( 2( in(
Chapter( 4( of( this( paper( (page( 17),( these( parameters( could( be( assigned( to( timbre,( pitch,(
amplitude( and( rhythm( for( the( musical( aspect.( Table( 3( demonstrates( the( general( design(
process(of(Parameter(Mapping(Sonification((PMSon)(in(terms(of(mapping(data(to(sound.(
(
Table(3:(Demonstrating(the(general(design(process(of(Parameter(Mapping(Sonification(
It( can( be( seen( from( Table( 3( that( designing( parameter( mappings( involves( the(
exchange( between( data( and( auditory( elements,( maintaining( an( integrated( awareness(
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103
(Thomas(Hermann,(Andy(Hunt(and(John(G.(Neuhoff,(‘Introduction,’(in(The#Sonification#
Handbook,(ed.(Thomas(Hermann,(Andy(Hunt(and(John(G.(Neuhoff((Berlin:(Logos(Verlag,(
2011),(5.(
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between( them.104(Similarly,( visuals( could( be( placed( within( the( same( setting( of( parameter(
mappings,(having(parameters(that(include(brightness,(space,(speed((rhythm),(size(and(others(
that( are( coherent( to( the( musical( parameters.( Audiovisual( artists( could( then( assign( these(
parameters( according( to( their( intents( that( may( differ( in( various( works.( Although( being( a(
significant( role,( data( sonification( specifically( is( not( emphasised( in( this( paper;( instead,( the(
data(coherence(and(manipulation(between(audio(and(visual(elements(will(be(placed(in(main(
focus.(
Balance(in(Aesthetics(
With(audiovisuality(being(an(interdisciplinary(practice,(time(and(effort(are(placed(on(
both( the( auditory( and( visual( elements.( However( with( a( musical( focus,( the( amount( of(
emphasis(placed(on(each(element(is(worth(examining.(For(a(musician,(music(would(be(the(
comfort( component( within( such( practice;( the( interest( in( combining( audio( to( the( visual(
results( in( motivation( for( producing( a( work( that( incorporates( both( elements.( Naturally,( the(
convergence( of( audio( and( visual( production( is( dependent( on( the( interests( of( the( artists.(
Some( artists( enjoy( the( presentation( of( their( own( music( to( a( set( of( visuals,( while( others(
engage(in(interdisciplinary(practices(due(to(constraints(on(what(they(can(achieve(within(their(
original( practice,( including( the( availability( of( equipment.( Timothy( Wright( once( loosely(
mentioned( in( a( brief( introduction( during( our( first( meeting( that( he( uses( visualisations( to(
represent(his(multichannel(works.(Wright(is(a(composer(and(musician,(where(his(Ph.D.(paper(
focused( on( a( composition( portfolio( with( focus( on( ‘the( development( of( compositional(
approaches( that( bring( together( techniques( and( materials( from( different( areas( of( musical(
practice,(including(electroacoustic(music(and(electronic(dance(music’105.(Due(to(the(diversity(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
104
(Florian(Grond(and(Jonathan(Berger,(‘Parameter(Mapping(Sonification,’(in(The#Sonification#
Handbook,#ed.(Thomas(Hermann,(Andy(Hunt(and(John(G.(Neuhoff((Berlin:(Logos(Verlag,(
2011),(366.(
105
(Timothy(J.(C.(Wright,(‘Folio(of(Compositions,’((Ph.D.(thesis,(University(of(York,(2013),(1.(
! Y3836419((((((((53!
of( his( compositions,( equipment( was( not( always( readily( available( for( him.( With( the( use( of(
visualisations,(he(was(able(to(‘see(what(he(would(hear’.(This(might(be(a(relevant(approach(
for(music(producers(to(adopt(such(practices(to(aid(their(main(practice(of(music(production(–(
being(able(to(visualise(sound,(similar(to(computer(graphics(from(digital(audio(workstations(
(DAWs),(at(a(higher(level(of(artistic(aesthetics.(
Depending( on( various( needs( and( purposes( of( the( audiovisual( work,( the( time( and(
effort(spent(on(audiovisual(production(differs(as(well.(This(would(be(a(common(occurrence(
among( artists( that( undertake( interdisciplinary( practices( individually.( Often,( a( significant( or(
prominent( attribute( is( identified( in( the( work( before( or( during( the( production( process,( in(
which( more( emphasis( may( be( placed( on( a( dominant( factor.( It( may( be( a( problem(
encountered,(a(difficulty(that(arose(or(a(creative(exploration(in(a(certain(aspect(of(the(work(
that(causes(the(artist(to(spend(more(time(on(the(audio(or(visual(aspect.(However,(a(balance(
has(to(be(achieved(at(the(end(of(the(whole(process.(The(ultimate(outcome(of(the(audiovisual(
work(is(a(joint(entity,(successful(only(if(both(audio(and(visual(elements(are(in(coherence(and(
makes( sense( when( presented( together.( The( management( of( the( audiovisual( process( and(
progress( is( thus( essential( to( ensure( the( creation( of( audiovisual( works.( Therefore,( equal(
emphasis( should( be( placed( on( the( creation( of( audiovisual( works,( as( individual( audio( and(
visual( elements( are( important( in( enhancing( the( overall( effect( of( audiovisuality.( Planning(
drafts(and(setting(a(goal(for(the(final(outcome(of(the(artwork(is(necessary(while(executing(
the( production( process.( An( outcome( that( is( envisioned( prior( to( starting( the( audiovisual(
production(will(provide(guidelines(and(directions(regarding(the(tools(and(materials(needed(
for(the(piece.((
( With( music( as( the( main( background( and( being( the( initial( notion( of( creating(
audiovisual(works,(visual(parameters(are(often(assigned(to(musical(data(after(its(completion(
in( the( musician’s( perspective.( It( is( hardly( the( case( that( a( set( of( visuals( is( completed( first(
before(starting(on(the(music;(albeit(roles(of(the(musicians(may(vary,(which(will(be(discussed(
! Y3836419((((((((54!
later(within(this(chapter.(Musicians(often(assign(visuals(to(their(music(to(enhance(its(effect,(
as( outlined( in( Chapter( 4( under( Music( and( Music# Videos.# With( a( piece( of( completed( music,(
the( audiovisual( artist( could( now( meticulously( select( the( parameters( that( are( mapped( to(
portray( the( visuals.( Most( musicians( will( choose( the( obvious( and( prominent( factors( of( the(
piece( of( music( to( accompany( the( mapping( of( visual( elements.( As( outlined( in( previous(
chapters,(this(includes(rhythm,(for(example(the(rhythm(of(the(kick(or(snare(drum(mapping(to(
the( appearance( of( a( visual( element;( pitch,( mapped( to( the( brightness( intensity( of( a( visual(
element;( amplitude,( mapped( to( the( size( of( a( visual( element;( and( harmony( mapped( to( the(
shape(of(a(visual(element(et(cetera.(The(presentation(of(the(visual(elements(however(has(to(
be(chosen(as(appropriate(for(the(music(that(it(is(presented(together(with.(
The( coherence( between( audio( and( visuals( is( thus( indispensable( within( an(
audiovisual( work.( This( leads( on( to( the( question( of( ‘synchronisation’( within( an( audiovisual(
work(where(audio(and(visual(elements(are(combined.(
Synchronisation(in(Audiovisual(Works(
( ‘Synchronisation’(is(a(moment(or(moments(‘of(an(audiovisual(sequence(during(which(
a( sound( event( and( a( visual( event( meet( in( synchrony.’106(Chion( was( the( first( theorist( to(
establish( the( notion( of( Synchresis( of( sound( and( image( in( narrative( cinema.( It( is( also(
influential( in( nonOnarrative( cinema,( with( audio( and( visuals( being( the( two( main( factors( as(
well.(Synchresis(was(based(on(the(idea(of(synchronisation(and(synthesis(where(‘the(forging(
of( an( immediate( and( necessary( relationship( between( something( one( sees( and( something(
one( hears( at( the( same( time.’107(This( phenomenon( is( present( in( audiovisual( works,( where(
sounds( are( placed( with( images( through( processes( as( outlined( in( the( previous( sections.( A(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
106
(Michel(Chion,(AudioYVision:#Sound#on#Screen((New(York:(Columbia(University(Press,(
1994),(58.(
107
(Ibid,(224.(
! Y3836419((((((((55!
variety( of( sounds( could( be( combined( with( multiple( forms( of( images.( However,( forming( a(
strict(association(between(sound(and(image(requires(a(state(of(‘added(value’(where((
‘the(expressive(and(informative(value(with(which(a(sound(enriches(a(given(image(so(
as( to( create( the( definite( impression,( in( the( immediate( or( remembered( experience(
one( has( of( it,( that( this( information( or( expression( “naturally”( comes( from( what( is(
seen,(and(is(already(contained(in(the(image(itself.’108((
This( provides( further( enhancement( and( a( higher( level( of( aesthetic( relationship( within( an(
audiovisual( work,( as( compared( to( what( the( original( sound( or( image( may( portray( on( their(
own.( This( is( thus( reminiscent( of( the( McGurk( and( ‘illusionary( flash’( effect( as( mentioned( in(
Chapter( 4,( where( visual( perceptions( alter( when( presented( with( sound.( However,( although(
the(issue(of(Synchresis(is(‘capable(of(being(influenced,(reinforced,(and(oriented(by(cultural(
habits( …( it( very( probably( has( an( innate( basis,’109 (thus( having( similar( perceptions( being(
observed( across( different( cultural( and( social( backgrounds.( This( combination( of( senses( also(
foresees(the(notion(of(Synaesthesia,(which(is(evident(in(the(execution(of(various(art(forms(as(
mentioned(in(Chapter(4,(where(the(change(in(perception(of(sound(and(image(creates(a(new(
form(of(impression(on(a(certain(element.(
( Chion( emphasises( the( connections( between( music( and( audiovisual( composition( in(
the(sense(where(synchronisation(provides(‘phrasing,(just(as(chords(or(cadences,(which(are(
also(vertical(meetings(of(elements,(can(give(phrasing(to(a(sequence(of(music.’110(Chion(also(
mentions( the( instantaneity( and( continuality( during( the( combination( of( audio( and( visual,(
where( ‘spontaneous( and( irresistible( …( yet( inevitable’111(assemblage( in( our( perception( is(
formed,(bringing(the(coherence(within(audiovisual(works(to(a(higher(combined(aesthetic.(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
108
(Michel(Chion,(AudioYVision:#Sound#on#Screen((New(York:(Columbia(University(Press,(
1994),(5.(
109
(Ibid,(64.(
110
(Ibid,(59.(
111
(Ibid,(63.(
! Y3836419((((((((56!
( John( Whitney( then( took( this( notion( of( Synchresis( and( applied( it( to( digital( systems,(
forming(the(notion(of(Digital#Harmony.(Digital#Harmony(follows(the(doctrine(of(Pythagoras’(
theories(of(harmony,(as(mentioned(in(Chapter(4.(The(integer(ratios(devised(by(Pythagoras(is(
acknowledged( in( the( mathematical( generations( of( Whitney’s( visuals,( associating( tonal(
harmony( to( the( visuals( he( creates,( forming( close( connections( between( the( two( elements.(
Whitney(also(foresighted(the(movement(of(modern(technological(advances,(where(he(stated(
that(‘the(term(Digital#Harmony(may(be(a(commonplace(expression(associated(with(a(major(
evolution( of( twentieth( century( art( technology.’ 112 (As( emphasised( in( previous( chapters,(
temporal( attributes( are( significant( in( the( realm( of( audio,( visual( and( audiovisual( works.(
Whitney( examines( the( element( of( graphics,( identifying( the( need( ‘to( manipulate( a( field( of(
visual( elements( so( that( all( parts( will( contribute( purposefully( to( some( temporal( (timeO
structured)( design.’113(This( emphasises( Chion’s( notion( of( ‘added( value’,( where( perceptual(
meaning( of( the( joint( entity( is( enhanced( as( well.( Whitney’s( notion( of( music( and( visual(
relationships( mimics( the( working( processes( of( established( music( composers,( where( he(
explored( ‘within( this( visual( domain( of( harmonic( potentialities( experiencing( the( strong(
challenge(to(creative(skill(that(composers(of(the(Baroque(or(Classic(epochs(must(have(felt.’114(
( Forming( solid( and( strict( associations( between( audio( and( visuals( have( been(
examined,( practiced,( theorised( and( emphasised( throughout( the( history( of( audiovisual(
production.(This(is(similar(to(the(individual(creations(of(music(and(film,(where(both(art(forms(
operate( and( are( manipulated( against( time.( Other( endeavours( of( seeking( synchronisation(
within(audiovisual(works(have(been(undertaken(by(Joseph(Schillinger(and(Mary(Ellen(Bute,(
as(mentioned(in(Chapter(5.( Through( the( compositional( system( devised( by( Schillinger,( Bute(
attempted( to( produce( visual( works( that( complement( his( composition( methods,( however(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
112
(John(Whitney,(Digital#Harmony:#On#the#Complementarity#of#Music#and#Visual#Art,(
(McGrawOHill:(Peterborough(New(Hampshire,(1980),(115.(
113
(Ibid,(37.(
114
(Ibid,(123.(
! Y3836419((((((((57!
failing(to(reach(a(consensus(between(the(sound(and(image(elements.(Schillinger(wanted(to(
produce( a( ‘film( to( prove( that( his( synchronisation( system( worked( in( illustrating( music( with(
visual(images.’115(However,(elements(that(were(emphasised(in(Schillinger’s(system(could(not(
be(achieved(appropriately(in(Bute’s(work.(With(the(technological(limitations(of(the(1930s,(it(
was( understandable( why( Bute( could( not( finish( the( work( she( set( out( to( accomplish( as( ‘the(
intricate( image,( reminiscent( of( Kandinsky’s( complex( paintings,( would( have( taken( a( single(
animator( years( to( redraw( thousands( of( times.’ 116 (However,( Schillinger’s( musical( system(
remained(an(influence(in(the(aesthetics(that(govern(Bute’s(works.((
The( integration( of( ‘added( value’( and( ‘digital( harmony’( within( an( interdisciplinary(
audiovisual(work(in(the(contemporary(context(is(now(made(significant(and(prominent.((
6.2'Integrated'Composition(
( As(outlined(in(the(previous(sections,(a(piece(of(audiovisual(work(is(considered(a(form(
of( nonOtraditional( composition.( Maura( McDonnell( examines( how( audio( and( visual(
combinations( initiate( a( new( form( of( composition( through( the( notion( of( ‘Integrated(
Composition’.117(Table( 4( lists( the( elements( identified( by( McDonnell( within( visual,( musical(
and(compositional(practices,(where(these(elements(could(be(combined(through(composition(
to( form( a( sense( of( audiovisual( coherence,( through( methods( as( mentioned( in( the( previous(
section(that(includes(parameter(mapping.(McDonnell(also(states(that(‘composing(visuals(set(
to(music(was(a(task(in(composing(motion,(a(task(similar(to(that(of(the(music(composer(who(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
115
(William(Moritz,(‘Mary(Ellen(Bute:(Seeing(Sound,’(Animation#World#Magazine#(May(1996)(
Vol(1,(No.(2,(accessed(August(02,(2016,(
http://www.awn.com/mag/issue1.2/articles1.2/moritz1.2.html(
116
(Ibid.((
117
(Maura(McDonnell,(‘Visual(Music(–(Integrated(Composition,’((conference(presentation,(
Seeing(Sound(Symposium(2009,(Bath(Spa(University,(United(Kingdom,(September(19O20,(
2009),(http://www.soundingvisual.com/seeingsoundpaper/(
! Y3836419((((((((58!
composes( music.’ 118 (Musicians( are( more( accustomed( to( the( rules( of( composition,( thus(
relatable( to( the( methods( of( audiovisual( composition( when( handling( auditory( and( visual(
elements.(
(
Table(4:(Elements(from(Visuals,(Music,(and(Composition(that(could(be(integrated(together(
Audiovisual( artists( are( able( to( utilise( these( parameters( to( form( works( that( are(
specific( to( their( own( requirements( and( instructions( regarding( coherence( of( these(
parameters.(The(association(to(composing(is(examined,(where(the(intended(outcome(of(an(
audiovisual( piece( would( engage( thought( processes( in( terms( of( compositional( ‘form,(
structure,( development’( et( cetera,( as( stated( in( Table( 4.( As( examined( in( this( chapter,(
audiovisual(works(emphasises(the(processes(undertaken(to(achieve(the(final(outcome.(These(
approaches(are(reminiscent(of(music(composers,(who(first(choose(the(musical(key(and(scale,(
assigning(corresponding(notes(according(to(harmonic(and(melodic(relations,(create(suitable(
phrasings(and(structure(with(the(available(materials,(before(finding(musicians(to(realise(the(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
118
(Maura(McDonnell,(‘Visual#Music#(2007)’,(published(in(conjunction(with(The(New(York(
Visual(Music(Marathon(–(2009,(shown(at(the(Visual(Arts(Theatre,(New(York(City,(2009.(
! Y3836419((((((((59!
piece.( The( music( scored( for( the( film( has( to( be( dynamically( and( rhythmically( in(
synchronisation(with(the(visuals(in(order(to(achieve(a(medium(of(togetherness(and(unity.(As(
outlined( in( previous( chapters,( motion( and( time( are( common( elements( in( both( audio( and(
visuals.( Music( composition( and( visual( production( with( an( enhanced( connection( between(
both( allows( for( their( integration( within( one( another( to( form( audiovisual( works( –( bringing(
musical(and(audiovisual(composition(and(production(closer(in(relation.((
6.3'Technological'Tools(
‘MediaOtechnological( operations( become( the( basis( for( devising( soundOimage(
relations( in( the( middle( of( the( twentieth( century,( when( the( creative( exploration( of(
the(film(medium(contrasts(with(the(exploration(of(analogue(electronic(technologies,(
emphasising(transformation(and(paving(the(way(towards(interaction.’119(
Technological(advances(in(software(tools(have(allowed(audiovisual(artists(to(achieve(
mapping( of( parameters( easily( through( digital( means.( With( audiovisual( software( like( Max#
MSP,(Processing(and(SuperCollider(as(mentioned(in(the(previous(chapter,(audiovisual(works(
are(created(more(frequently(through(creative(practice(and(experimentation,(as(well(as(from(
the( initial( exploration( of( these( programmes( that( are( quite( current( in( the( scene.( Different(
artists( adopt( different( approaches( in( their( audiovisual( composition( practices;( utilising(
different( software( tools,( mapping( distinct( parameters,( and( creating( individualistic( styles( of(
working(methods(–(all(depending(on(their(artistic(intents.(
With( the( increase( in( demand( for( more( unique( creations( of( audiovisual( works,(
technological(tools(are(also(required(to(embrace(the(vast(methods(of(data(sonification(and(
manipulation.( Max# MSP# and# SuperCollider( integrate( textural( and( graphical( forms(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
119
(Marcella(Lista,(‘Empreintes(sonores(et(metaphors(tactiles,’#in#Sons#et#Lumières:#Une#
histoire#du#son#dans#l’Art#du#XXè#Siècle,(edited(by(Sophie(Duplaix(and(Marcella(Lista((Paris:(
Editions(du(Centre(Pompidou,(2004),(quoted(in(Luísa(Ribas,(‘On(performativity(as(a(
perspective(on(audiovisual(systems(as(aesthetic(artifacts,’((conference(paper,(ICLI(2014:(
International(Conference(on(Live(Interfaces,(Lisbon,(Portugal,(November(19O23,(2014).(
! Y3836419((((((((60!
respectively,( where( programmability( is( flexible( and( extensible( to( develop( custom( data(
configurations.(Interactivity(is(also(an(upcoming(feature(of(importance(in(audiovisual(works,(
where( artists( are( now( performers( –( performing( their( audiovisual( works( realOtime( on( stage(
during(a(performance.(This(allows(freedom(for(the(artists(to(change(conditioning(parameters(
and(perform(with(efficiency(and(proficiency.120(
Hardware(equipment(have(also(benefited(from(the(presentation(of(live(audiovisual(
works.( Often,( equipment( that( were( originally( designed( for( music( purposes( have( been(
utilised( into( creating( audiovisual( works( as( well.( One( prominent( example( is( the( use( of( the(
Music( Instrument( Digital( Interface( (MIDI)( keyboards( and( interfaces.( Unique( and( individual(
configurations(can(be(applied(on(these(interfaces,(allowing(users(to(create(and(modify(their(
desired(settings.(For(example,(a(MIDI(knob(or(fader(could(adjust(parameters(of(both(audio(
and( visual( elements( accordingly( to( how( to( audiovisual( artist( configure( settings( on( the(
utilised(software,(similar(to(the(divergent(mapping(method.(This(increases(and(enhances(the(
synchronised( coherence( between( audio( and( visuals.( Such( hardware( equipment( are( thus(
often(seen(on(stage,(being(used(to(generate(live(audiovisual(performances.(
Similar(Production(Techniques(
The(softwares(mentioned(thus(far(have(aided(music(practitioners,(sound(artists(and(
computer( musicians( in( creation( of( their( various( types( of( works.( With( an( interface( that(
complements(the(needs(of(these(artistic(roles,(these(softwares(serve(the(artistic(and(creative(
innovations(of(musicians(and(artists(alike.(
Similar(techniques(acquired(include(knowing(the(signal(flow(of(an(audio(processing(
process.( These( features( that( include( the( gain( function,( effects( manipulation,( and( the( final(
output( are( significantly( important( in( both( the( creation( of( recorded( music( as( well( as( the(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
120
(Florian(Dombois(and(Gerhard(Eckel,(‘Audification,’(in(The#Sonification#Handbook,(ed.(
Thomas(Hermann,(Andy(Hunt(and(John(G.(Neuhoff((Berlin:(Logos(Verlag,(2011),(321.(
! Y3836419((((((((61!
audio( in( audiovisual( works.( Contemporary( audiovisual( works( often( consist( of( manipulated(
sounds( that( may( be( analog( or( digitally( created.( These( sounds( undergo( processing( and(
manipulative( effects( that( often( result( to( soundtracks( being( of( the( Noise( and( Experimental(
genres.( Dance( or( Electronic( music( in( DJ( sets( have( also( gone( through( the( analog( or( digital(
creation(process,(edited(and(manipulated(to(result(in(suitable(music(of(the(specific(genre;(to(
which( visuals( complement( accordingly( to( the( parameters( as( outlined( previously.( This(
acknowledges(the(prominence(of(a(certain(level(of(audio(knowledge(within(the(creation(of(
audiovisual( works.( Along( with( visuals,( audio( plays( an( equal( importance( in( the( outcome( of(
audiovisual(works,(and(thus(their(contributory(factors(must(not(be(neglected.(#
With( a( history( and( background( in( working( alongside( visual( representations,( music(
practitioners( are( thus( suitable( in( creating( audiovisual( works( based( on( their( knowledge( of(
equipment(and(technological(tools.(As(mentioned(in(Chapter(5,(Mary(Ellen(Bute(and(other(
artists( that( follow( were( inspired( by( the( oscilloscope( wave( representations( of( sound.( They(
incorporated(the(elements(of(sound(representation(that(the(oscilloscope(provides(into(their(
visual( works,( creating( a( direct( coherence( between( the( auditory( and( visual( domains.( The(
oscilloscope(has(been(used(frequently(in(audio(recording(and(mixing(processes,(where(they(
provide( information( regarding( amplitude,( phase( and( time( of( the( input( and( output( sounds(
depending(on(individual(configurations.(Other(graphical(interfaces(used(in(music(production(
include(Parametric(Equalisers,(where(spectral(information(is(proficiently(given(to(allow(audio(
engineers(to(recognise(frequencies(based(on(its(graphical(interface.(Phase(Correlators(allow(
audio(engineers(to(examine(the(phase(and(stereo(width(of(a(music(production.(On(a(basic(
DAW,( audio( waves( are( presented( on( the( tracks( that( contain( audio( files( as( well.( Graphical(
information(here(in(turn(plays(an(important(role(for(music(producers(and(audio(engineers.(
The( interrelationship( and( exposure( to( audio( and( visuals( for( a( music( practitioner( is( thus(
essential( regarding( their( movement( to( create( audiovisual( works( to( represent( their( sound(
creations(more(coherently(and(directly(–(also(mentioned(within(this(chapter(in(the(case(of(
! Y3836419((((((((62!
Wright’s( audiovisual( involvement,( where( he( required( equipment( that( were( often(
inaccessible(for(production(of(his(works.((
6.4'Acquired'Roles'and'Initiatives'
( Other( than( being( labelled( as( an( audiovisual# composer,( several( roles( acquired( by(
sound(artists(in(the(creation(of(audiovisual(works(include:(music(producer(or(sonic(artist(for(
a( fixed( set( of( visuals,( as( well( as( data( interpreter( and( translator( in( the( context( of( data(
sonification(practices(as(mentioned(at(the(start(of(this(chapter.(
( When(scoring(music(to(a(fixed(set(of(visuals,(visuals(are(usually(completed(prior(to(
the( assignment( of( music( to( a( visual( piece.( This( includes( commercial( movies,( commercial(
advertisements,( and( creating( jingles.( This( is( more( common( in( the( commercial( industry( of(
audiovisual( works,( where( visuals( play( a( more( significant( role( to( depict( a( story( or( inform(
important( content.( Experimental( and( abstract( film( and( visual( works( from( the( past( first(
involved(collaboration(between(film(makers/animators(with(musicians/composers.(With(the(
advances( and( availability( of( digital( technology,( this( multidisciplinary( approach( has( become(
interdisciplinary.( Films( in( the( past( were( often( made( individually,( synching( visuals( to( audio(
postOproduction,(vice(versa.(Now,(realOtime(performance(and(manipulation(is(feasible(within(
an(individual(effort,(enhancing(and(diversifying(the(potential(of(digital(audiovisual(creation(
for(any(musician(or(film(artist.(
While( producing( audiovisual( works( independently,( artists( are( able( to( achieve(
individual( artistic( control( of( their( works.( While( collaborating( with( personnels( across( art(
forms,( the( artistic( intentions( of( artists( differ,( which( might( constitute( to( having( different(
opinions( regarding( a( final( piece( of( work.( With( selfOproduction( of( audiovisual( works,( music(
producers( can( execute( sole( control( over( the( overall( aesthetics( and( artistic( content( with( a(
desired( outcome.( Audiovisual( composers( thus( create( new( translations( of( music( to( a( wider(
audience(as(well.(
! Y3836419((((((((63!
Movement( of( artists( into( interdisciplinary( practices( are( also( constrained( to( their(
interest(and(influences.(Musicians’(initiatives(into(creating(audiovisual(works(are(derived(and(
developed( from( existing( technological( knowledge,( while( also( breaking( boundaries( to(
generate(new(forms(of(art.((
Enhanced(Technological(Knowledge(
With(advanced(and(specialised(technological(skills(attained(by(a(music(producer(or(
computer( musician,( visuals( add( aesthetic( enhancements( to( their( works,( particularly( in( the(
contemporary(field.(Exposure(is(also(an(incentive(for(them(to(pursue(interdisciplinary(arts.(A(
new(form(of(performance(is(presented(in(recent(art(and(music(festivals(that(involve(detailed(
visuals(and(choreographed(light(shows(synchronised(and(presented(together(with(music.((
As(mentioned(in(Chapter(4,(DJ(sets(are(becoming(more(prominent(in(art(and(music(
festivals( that( include( Coachella( Valley( Music( and( Arts( Festival,( Glastonbury( Festival,(
Lollapalooza(and(others.(With(visuals(being(a(significant(element(in(these(performance(acts,(
likewise( light( shows( are( a( necessity( in( modern( concerts( of( any( genre.( While( these( visual(
additions( enhance( the( experience( for( performers( and( audience,( exposure( for( these( artists(
are(elevated(as(well.(The(sprout(of(the(audiovisual(movement(introduces(new(platforms(for(
artists( to( present( their( audiovisual( works.( It( is( hardly( the( case( where( a( solo( computer(
musician(is(on(stage(performing(behind(laptops(and(technological(equipment;(graphics(often(
accompany(such(performances.(As(such,(artists(are(encouraged(to(create(not(only(music,(but(
also(visual(equivalents(to(be(presented(together(as(a(performance(set.(
Some( musicians( may( choose( to( work( in( duets,( having( a( music( and( visual( producer(
separately;( yet( there( are( also( solo( artists( that( take( the( initiative( to( specialise( in(
audiovisuality(practices.(Technological(knowledge(would(serve(to(be(an(advantage(for(these(
solo( artists( in( utilising( software( and( hardware( tools( as( mentioned( in( the( previous( section.(
This(will(be(further(examined(in(the(next(chapter,(where(I(conducted(a(practical(research(at(
! Y3836419((((((((64!
an( audiovisual( festival.( Nonetheless,( the( demand( for( musicians( to( acquire( technological(
knowledge(to(create(audiovisual(works(has(increased(throughout(the(years.(
Generating(New(Forms(of(Art(
( The(development(of(new(art(forms(is(constantly(progressing(when(more(artists(and(
practitioners( experiment( and( generate( new( ideas( and( concepts.( Often( these( ideas( and(
concepts( are( generated( to( present( an( individual( style( or( uniqueness.( A( ‘signature( sound’(
allows(the(general(public(to(recognise(an(artist(easily,(similar(to(the(identifiable(commercial(
rock( and( pop( artists.( Likewise,( audiovisual( artists( tend( to( create( works( within( a( certain(
theme.(Prominent(artists(including(Carsten(Nicolai((also(artistically(known(as(Alva(Noto)(who(
creates( works( with( high( piercing( sounds( paired( with( minimal( visuals,121(as( well( as( Ryoichi(
Kurokawa122(who( works( with( the( notion( of( Synaesthesia,( have( individualistic( identifiable(
audiovisual(works.(To(break(away(from(existing(traditions(of(audiovisual(art,(artists(are(thus(
encouraged(and(motivated(to(produce(works(that(contain(their(‘signature(style’.(It(is(also(a(
notion( of( artistic( expressiveness( that( artists( are( striving( for( in( their( works,( creating( an(
individual(artistic(identity.((
By(having(an(additional(visual(platform,(artists(are(now(able(to(portray(their(works(at(
a( higher( aesthetic( level( that( incorporates( both( audio( and( visual( ideas.( With( the( modern(
concept(of(Music#Videos(and(particularly(Visual#Albums,(commercial(artists(are(engaging(in(
interdisciplinary( practices( commercially( as( well.( This( provides( additional( support( and(
reinforcement( to( contemporary( artists( in( terms( of( public( acceptance( of( their( artistic(
creations.(
' '
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
121
(Carsten(Nicolai,(‘Works,’(Carsten(Nicolai(Personal(Website,(accessed(August(20,(2016,(
http://www.carstennicolai.de/?c=works(
122
(Ryoichi(Kurokawa,(‘Work,(Project,’(Ryoichi(Kurokawa(Personal(Website,(accessed(August(
20,(2016,(http://www.ryoichikurokawa.com/project.html(
! Y3836419((((((((65!
7.'PRACTICAL'FIELD'RESEARCH:'BERLIN,'GERMANY'
This( section( constitutes( the( findings( from( the( practical( field( research( conducted( in( Berlin,(
Germany(–(stating(the(purpose(and(outcomes(of(the(research(trip.(
Germany(has(a(long(history(regarding(the(field(of(music,(visual(projections(and(the(
movement(in(audiovisual(art,(beginning(with(the(movement(of(Figurative(Art(to(the(current(
output( of( Contemporary( Art.( The( Germany( Absolute( Film( movement( gave( rise( to( Visual(
Music,(including(artists(Viking(Eggeling,(Walter(Ruttmann,(Oskar(Fischinger(and(Hans(Richter,(
as( mentioned( in( previous( chapters.( Many( prominent( and( significant( historical( audio( and(
visual( works( were( thus( premiered( in( Germany.( This( includes( Viking( Eggeling’s( Symphonie#
Diagnonale((1924),(premiering(at(the( Absolute#Film#Show(in(May(1925,(Walter(Ruttmann’s(
Lichtspiel#Opus#1(publicly(shown(in(1921,(being(the(first(abstract(film(to(be(publicly(shown.(
Other( exhibitions( put( up( prior( this( century( in( Germany( include( ‘Oauf( ein( Wort!( Aspekte(
visueller(Poesie(und(Musik((In(a(word!(Aspects(of(visual(poetry(and(visual(music)’(in(1987(at(
the( Gutenberg( Museum( in( Mainz,( and( the( ‘Vom( Klang( der( Bilder( (From( the( sound( of(
images)’( exhibition( in( 1985( at( the( Staatsgalerie( Stuttgart,( being( the( ‘most( comprehensive(
exhibition(to(date(in(its(exploration(of(the(relationship(of(art(to(sound(and(music.’123(Further(
back(during(the(1920s(and(1930s,(there(were(also(four(Colour(Music(Congresses((Kongresse(
für( FarbeOTonOForschung).( These( events( and( exhibitions( proved( the( prominence( and(
importance(of(arts(in(Germany.((
Huge( music( brands( including( Ableton,( Native( Instruments,( Steinberg( and( PreSonus(
originally( created( in( Germany,( demonstrating( the( significance( of( art( in( Germany( across(
different(eras(and(areas.(Germany’s(liberal(acceptance(for(contemporary(and(experimental(
art(movements(sprouts(interest(in(contemporary(artists(to(reside(or(take(up(residencies(in(
this(cultural(hub.(Together(with(cultural(and(social(influences,(Germany(provides(a(suitable(
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123
! Y3836419((((((((66!
community( for( artistic( creation( and( production.( Examples( of( artists( that( are( now( based( in(
Germany( include( Ryoichi( Kurokawa( and( Ryoji( Ikeda,( who( are( both( originally( from( Japan.(
Emerging( artists( including( Pan( Daijing( originally( from( China,( Carla( Chan( from( Hong( Kong,(
Rainer(Kohlberger(from(Austria,(and(Marta(Zapparoli(from(Italy(are(examples(of(practitioners(
that(are(now(based(in(Berlin.(Carsten(Nicolai(is(also(a(contemporary(audiovisual(artist(that(
collaborates(internationally.(This(notion(of(collaborating(internally(and(globally(brings(artists(
together(to(create(and(produce(works(of(various(social(and(cultural(ideas(and(perceptions.(
Berlin(Atonal(Festival(2016(
With(the(diverse(arts(scene(happening(concurrently(in(Germany,(specifically(Berlin,(
it( seemed( like( an( obvious( choice( to( immerse( myself( with( the( contemporary( arts( scene( for(
the( purpose( of( this( research.( With( partial( funding( from( the( Santander# International#
Connections# Award,( I( was( able( to( travel( to( Berlin( for( the( practical( field( research.( The(
practical( field( research( occurred( during( the( 23rd( to( 29th( of( August( in( 2016.( These( dates(
coincided(with(Berlin#Atonal#124(–(a(festival(that(hosts(sonic(and(visual(artworks(in(the(form(
of(installations(and(performances.(Berlin#Atonal(is(a(‘festival(for(experimental(art(with(sound,(
light( and( technology( …( brought( together( by( technology( leaders( of( young( talent( and(
established(international(and(local(artists.’125(The(fiveOday( festival( was( housed( in(Kraftwerk#
Berlin,(an(abandoned(power(plant(in(central(Berlin((Mitte).(The(massive(industrial(structure(
of( the( building( enhanced( the( intensity( of( the( audiovisual( works,( which( also( brought( high(
aesthetic( and( immersion( levels( throughout( the( whole( festival.( It( was( not( a( typical( music(
festival(with(rock(musicians(and(commercial(tunes.(Instead,(synthesisers(took(the(stage(and(
laptops(replaced(traditional(music(instruments.(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
124
(‘Festival(2016,’(Berlin#Atonal#2016,(ORG(Systems(UG,(accessed(July(14,(2016,(
http://www.berlinOatonal.com/atonalO2016/(
125
(‘Berlin(Atonal(2016,’(Sponsored#Projects,(Music(Board(Berlin,(June(28,(2016,(accessed(
August(20,(2016,(http://www.musicboardOberlin.de/berlinOatonalO2016/(
! Y3836419((((((((67!
I(was(volunteering(at(the(festival,(holding(several(roles(ranging(from(frontOofOhouse(
to(backstage,(as(well(as(audience(management(and(artiste(liaison.(Through(these(roles,(I(was(
able( to( observe( interaction( between( artistes( and( their( level( of( musicianship,( speaking( to(
backstage( crew,( as( well( as( experiencing( the( festival( as( an( audience.( There( was( a( huge(
diversity(of(works(put(up(by(various(international(performers,(which(also(employed(different(
technical(setups(to(present(their(individual(artworks.((
APPENDIX( A( presents( photographs( from( Berlin# Atonal,( demonstrating( the( different(
works(being(performed(and(showcased(at(the(festival.(
Audio(Presented(at(the(Festival(
( Live( musicians( were( present( for( all( acts( throughout( the( festival,( but( sounds( were(
generally( computer( and( machineOgenerated( that( included( synthesisers( and( hardware(
equipment.(The(music(presented(was(in(the(noise,(contemporary(and(experimental(genres,(
differing( in( timbre( and( textures( across( the( various( acts.( There( were( only( two( acts( with(
processed( instruments,( namely( cello,( piano( and( voice.( These( acoustic( instruments( were(
processed(till(their(acoustic(originalities(were(inaudible,(making(only(the(processed(sounds(
prominent.( This( requires( a( high( knowledge( of( audio( signal( processing( skills( and( knowing(
their( functions( to( get( the( desired( effect.( As( the( instruments( were( processed( live,( miking(
choices( and( positioning( were( thus( crucial( in( creating( the( desired( effect( from( the( realOtime(
processing.(As(the(stage(was(setup(with(foldOback(monitors(around,(a(slight(position(change(
could(result(in(audio(feedback.(The(methods(used(to(mike(up(the(instruments(could(create(
different( timbral( results( as( well;( for( example( positioning( the( microphone( near( the( high( or(
low(frequencies(of(the(piano,(or(near(the(bridge(of(the(cello(et(cetera.(An(adequate(amount(
of( live( sound( reinforcement( knowledge( had( to( be( acquired( and( employed( to( properly(
portray( sounds( intended( during( the( compositional( and( rehearsal( stages,( thereafter(
translating(these(attributes(suitable(for(a(live(performance.(
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( Other( processed( sounds( include( highly( recognisable( samples( that( were( preO
recorded,( including( those( of( birds( chirping,( water( droplets,( and( metal( clangs.( Clear(
recordings( of( these( audio( samples( had( to( be( made( prior( creating( the( performance,( where(
certain(skill(and(knowledge(of(audio(recording(had(to(be(acquired.(The(results(of(the(use(of(
these(sounds(of(higher(frequencies(were(a(good(contrast(to(the(lower(frequencies(generated(
live(from(the(machines.(Other(forms(of(audio(were(presented(as(improvised(performances.(
In(which(case,(a(high(level(of(musicianship(and(techniques(of(integrated(composition(had(to(
be(maintained(by(the(audiovisual(artist((solo(act),(as(well(as(between(the(musician(and(visual(
artist((duet).((
( I( observed( that( there( were( not( many( visual( changes( and( interaction( between( the(
presented(audio(and(visuals(during(solo(acts.(This(might(be(due(to(laptop(processing(powers,(
distribution(of(performer’s(attention(between(and(audio(and(visuals,(as(well(as(overcoming(
performance( anxiety.( Therefore,( audiovisual( performances( were( mostly( in( duets,( having( a(
musician(and(a(separate(visual(artist.(
( With( sets( that( were( fully( auditory( (only( music,( without( visuals),( more( technical(
usage(of(audio(processing(was(employed.(For(example(the(use(of(extreme(panning,(being(an(
artistic(choice(in(capturing(the(audience’s(attention(throughout(the(set(that(lasted(almost(an(
hour( each.( I( also( observed( that( focus( was( placed( on( the( sounds( and( their( interaction( with(
the(surroundings.(I(was(able(to(pick(out(recurring(themes(and(understand(the(compositional(
and(improvised(structure(much(easier(as(compared(to(acts(with(accompanied(visuals.(
Audiovisual(Works(Presented(at(the(Festival(
( There(was(a(mix(of(filmed(and(computer(generated(visuals(throughout(the(festival.(
Visuals( were( typically( of( a( single( theme( within( a( performance( set.( This( allowed( easier(
comprehension( of( the( audiovisual( work,( while( also( allowing( more( scope( for( audio(
manipulation( and( processing.( FastOmoving( visuals( were( usually( paired( up( with( slow( pad(
! Y3836419((((((((69!
textured( sounds.( I( observed( that( a( slower( audio( movement( helps( with( the( pacing( of( the(
piece(when(the(accompanying(visuals(were(fastOpaced.(The(relationship(between(audio(and(
visuals(heightened(when(they(are(synchronised,(being(relevant(to(one(another(based(on(the(
methods(as(mentioned(in(Chapter(4.((
In( audiovisual( works,( visuals( and( audio( both( interpret( a( shared( story,( being(
dependent( on( each( other.( With( the( festival( being( held( consecutively( for( five( nights,( I(
observed( that( the( audio( produced( by( the( musicians( were( mostly( of( a( similar( style( and(
timbre.(However,(the(visuals(provided(another(platform(of(expression(and(higher(aesthetic(
value,(making(the(individual(acts(more(distinct(from(one(another.(While(music(was(the(main(
focus(of(the(festival,(visuals(enhanced(the(experience(and(added(another(point(of(attention(
and(immersion.(While(having(both(auditory(and(visual(interactions,(the(compositional(styles(
of( the( pieces( were( not( as( obvious( as( the( fully( auditory( sets.( However,( audiovisual( sets( did(
not( feel( as( long( as( music( sets.( This( might( be( due( to( having( an( additional( point( of( focus( to(
capture( the( audience’s( attention.( Knowledge( and( understanding( of( film( and( audio(
collaboration(is(thus(vital(in(creating(a(cohesive(audiovisual(work.(Such(collaboration(can(be(
seen(from(film(composers(and(sound(designers(where(appropriate(sound(effects(and(mood(
of(music(have(to(be(placed(within(the(respective(scenes.(
( Light( shows( are( getting( prominent( in( live( music( acts,( as( seen( from( the( festival( as(
well.(Alongside(filmed(and(computer(generated(visuals,(light(shows(brought(the(atmosphere(
of(the(music(acts(to(high(immersive(levels.(They(further(enhanced(performances(that(were(
executed(in(the(dark(where(the(musicians(were(hidden(from(view.(Similarly,(the(light(shows(
were( in( higher( relevance( when( they( were( synchronised( with( the( audio.( This( however(
happened(by(chance(–(the(lights(were(controlled(by(the(technical(crew,(not(the(performers(
themselves.((
( It( was( not( common( for( audiovisual( performances( to( be( presented( by( a( single(
performer;(there(was(only(one(solo(audiovisual(set(and(obvious(differences(were(observed(
! Y3836419((((((((70!
as(mentioned(previously.(There(was(a(high(level(of(coherence(between(duet(acts.(Although(
being(mostly(improvised,(some(form(of(rehearsed(composition(could(be(deduced(from(the(
overall( performance.( Structure( thus( plays( an( important( role( in( collaborative( acts.( For( the(
solo( audiovisual( performer,( both( the( audio( and( visual( elements( were( moving( at( a( much(
slower( pace,( not( as( active( and( interactive( as( the( duets.( This( could( be( due( to( factors( as(
mentioned(in(the(previous(section.(
( Visuals( were( executed( at( a( semiOprofessional( level( –( but( this( was( only( due( to( the(
reason( of( not( having( highOresolution( visuals( as( compared( to( commercial( film( and( movies.(
The( visuals( were( also( highly( processed( and( altered,( complementing( the( processed( and(
manipulated(sounds(that(were(performed(by(the(musicians.(The(programme(notes(also(state(
several(equipment(and(software(that(were(utilised(by(the(performers,(the(most(prominent(
and( widely( used( being( Max# MSP( across( musicians( and( visual( artists.( This( shows( that(
musicians( and( nonOfilm( professionals( were( able( to( create( audiovisual( works( without( highO
end( equipment( that( is( usually( required( for( commercial( movies( and( films.( With( sufficient(
technological( knowledge,( manipulated( film( images( and( computerOgenerated( visuals( and(
sounds( could( be( created( within( an( individual( laptop( and( altered( to( the( artist’s( desired(
outcome.(
Audiovisual(Relationships(
( Some( audiovisual( relationships( observed( include( prominent( divergent( and(
convergent( mappings,( as( well( as( rhythmic( and( harmonic( coherences.( One( prominent(
example( was( in( a( screening( of( Steina( and( Woody( Vasulka’s( early( film( works.( With( Steina(
Vasulka(performing(on(the(violin,(the(visuals(were(coherent(to(the(vibration(of(the(strings.(
The( vibration( of( the( visuals( corresponded( accordingly( with( every( different( note( played( on(
the(violin,(as(seen(in(Image(7(of(APPENDIX(A.(Knowledge(regarding(audio(signals,(including(
wavelength,( wave( shapes( and( harmonic( patterns( were( thus( evident.( This( is( also( basic(
! Y3836419((((((((71!
knowledge( acquired( by( musicians( and( music( producers( when( first( starting( out( within( the(
field(of(audio(production.((
The( high( level( of( relevant( and( identifiable( relationships( between( the( presented(
audio(and(visuals(demonstrated(a(sense(of(compositional(knowledge(acquired(by(the(artists(
and( performers( of( the( festival.( Overall,( audiovisual( works( mostly( emphasised( on( coherent(
mappings( between( the( audio( and( visual( elements,( making( the( combined( performance(
effective( and( relatable( for( the( audience.( However,( overOsynchronised( audiovisual( works(
resulted( in( cliché( and( expectedness( in( the( works.( This( loses( the( aspect( of( anticipation,(
making(the(artwork(less(attractive(during(a(lengthy(performance(set.((
( The( notion( of( Synaesthesia( was( highly( in( focus( during( the( various( audiovisual(
performances;( where( the( use( of( striking( colours( and( harsh( sounds( heightened( this( effect.(
Together( with( light( shows,( the( visuals( presented( for( each( performance( evoked( different(
emotions(accordingly(with(the(audio.(The(notion(of(integrating(and(producing(a(new(sensory(
reaction(conveys(the(performance(to(new(aesthetic(expectations(as(well.(Even(during(fully(
improvised(audiovisual(sets,(the(aspect(of(chance(between(the(synchronisation(of(audio(and(
visuals(were(heightened(but(also(fulfilled(by(the(performers.((
Turnout(Rate(
( The( festival( received( an( overwhelming( response,( having( soldOout( performances(
every(night.(As(the(festival(lasted(throughout(the(night,(the(audience(stayed(on(till(the(last(
performance( act( as( well,( emphasising( the( response( and( enthusiasm( regarding( the( arts( in(
Berlin.( The( ideas( and( compositional( aspects( of( the( performers( were( well( thought( out( and(
widely(accepted(by(the(audience(that(attended(the(festival,(derived(from(audience(feedback(
attained( by( the( festival( committee.( There( was( a( mix( in( the( audience,( ranging( from( young(
faces( to( elderly( enthusiasts( that( were( present( for( all( five( days( the( festival( was( held.( The(
festival(was(a(good(platform(for(such(musical(and(visual(exposure(especially(to(the(younger(
! Y3836419((((((((72!
generation,(and(everyone(seemed(to(accept(the(diverse(and(avantOgarde(style(of(music(that(
were( presented.( Generally,( new( forms( of( art( are( starting( to( be( accepted( by( the( general(
public,( due( to( new( media( publications( and( support( through( the( web,( art( magazines( and(
other(platforms(of(distribution(and(promotion(as(well.(
Economic(Factors(
Berlin# Atonal( was( partially( funded( by( the( Capital# Cultural# Fund126#and( the( Music#
Board#Berlin.127(The(Capital#Cultural#Fund#was(established(to(support(‘contemporary(cultural(
and( artistic( projects( …( (aiming)( to( initiate( and( strengthen( interregional( and( international(
cultural( dialogue.’128 (Whereas( the( Music# Board# Berlin# is( an( organisation( that( constantly(
funds( art( projects( in( Berlin( to( boost( and( strengthen( its( cultural( and( economic( reputations(
locally( and( internationally.( Such( organisations( being( receptive( and( acknowledging( new( art(
practices( provide( the( necessary( platforms( for( local( and( international( artists( to( pursue( and(
present( their( artworks( to( an( international( audience,( no( matter( how( contemporary( or( new(
the(genre(might(be.(With(a(whole(series(of(projects(funded(under(their(belt,(both(the(Capital#
Cultural# Fund129(and( Music# Board# Berlin130(brought( in( local( and( international( artists( under(
various(grants,(residencies(and(promotional(events.(This(has(sprouted(the(interest,(longevity(
and(cultural(progression(in(the(area(of(arts(in(Berlin,(making(it(a(cultural(hub(for(stateOofOtheO
art( activities.( These( strong( cultural( and( economic( investments( built( in( by( the( local(
government(provide(support(and(confidence(to(artists(and(practitioners(alike.(Cultural(and(
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
126
(‘The(Capital(Cultural(Fund(in(Berlin,’(Capital(Cultural(Fund,(accessed(August(31,(2016,(
http://www.hauptstadtkulturfonds.berlin.de/index.php?id=32&L=1(
127
(‘The(Music(Board,’(About#Us,#Music(Board(Berlin,(accessed(August(20,(2016,(
http://www.musicboardOberlin.de/ueberOuns/dasOmusicboard/(
128
(‘Aims,’(Capital(Cultural(Fund,(accessed(August(31,(2016,(
129
(‘Aktuell(geförderte(Projekte,’(Capital(Cultural(Fund,(accessed(August(31,(2016,(
http://www.hauptstadtkulturfonds.berlin.de/?L=1(
130
(‘Funded(Projects,’(Music(Board(Berlin,(accessed(August(20,(2016,(
http://www.musicboardOberlin.de/category/gefoerderteOprojekte/(
! Y3836419((((((((73!
social(importance(is(also(emphasised(by(these(organisations,(raising(and(strengthening(the(
movement(in(the(arts(in(terms(of(contemporary(cultural(and(artistic(programmes.(
' Economical( incentives( would( then( have( played( a( significant( role( in( artistic(
interdisciplinary( practices.( With( the( merging( of( roles( evident( in( the( development( of( the(
artistOmusician(and(musicianOartist,(they(were(also(
‘the( first( and( foremost( cultural( movements( that( proved( to( be( expansive( and(
interdisciplinary.(In(addition,(economic(considerations(that(required(a(dual(cultural(
function( may( have( entered( into( play.( During( some( periods,( it( was( easier( to( earn(
money(with(fine(art,(while(at(other(times(music(was(more(lucrative.’131(((
With(the(fluctuating(consistency(in(funding(and(support(for(the(arts,(art(practitioners(have(
taken( the( initiative( to( engage( themselves( within( a( broader( field( in( order( to( achieve(
economic(subsidies(and(financial(support(for(their(artistic(practice.(This(notion(operates(in(a(
cycle(as(well,(whereby(
‘in( the( present( time( electronic( media( are( the( most( powerful( factors( that( influence(
music(culture.(They(change(social(functions(of(music,(they(affect(musical(behaviour,(
music(taste(and(aesthetic(ideals(of(the(society.(They(are(the(technical(basis(for(music(
industry( and( by( means( of( electronic( media( music( significantly( participates( in( the(
economic(development.’132((
Art( practices( are( therefore( significant( in( boosting( economical,( cultural( and( social( sectors,(
and( should( not( be( neglected.( Likewise,( interdisciplinary( practices( that( are( starting( to( gain(
prominence(and(popularity(amongst(emerging(artists(should(be(placed(in(focus,(to(embrace(
the( new( wave( of( art( possibilities( created( and( achieved( with( digital( technologies( from(
different(artistic(perspectives.' (
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
131
(Justin(Hoffmann(and(Sandra(Naumann,(‘ArtistOMusicians(and(MusicianOArtists,’(in(See#This#
Sound.#Audiovisuology:#A#Reader,(ed.(Dieter(Daniels(and(Sandra(Naumann((Köln:(Verlag(
Walther(König,(2015),(53.(
132
(Juraj(Lexmann,(Audiovisual#Media#and#Music#Culture,(trans.(Mgr.(Barbora(Patočková(
(Frankfurt:(Peter(Lang,(2009),(7.((
! Y3836419((((((((74!
8.'CONCLUSION(
This(paper(presented(an(overview(survey(of(the(current(scene(in(audiovisual(art,(where(new(
classification( methods( and( different( thought( processes( have( been( identified.( With( the(
emphasis( being( from( the( musician’s( perspective,( similarities( with( the( visual( aspect( of( this(
form( of( art( practice( can( be( observed,( enhancing( the( significance( of( audio( and( visual(
coherence.(
( Further( research( could( be( done( through( conducting( interviews( and( hosting(
questionnaires(with(practitioners(that(fall(under(the(category(of(music(producers(engaging(in(
similar(interdisciplinary(practice.(This(allows(for(quantitative(and(qualitative(results(in(terms(
of(reliable(firstOhand(sources(and(feedback(from(experienced(practitioners.(Being(a(practiceO
based(art(form,(undertaking(the(practical(audiovisual(creation(process(will(be(the(next(step(
in(this(research.(Employing(techniques(and(theories(identified(in(this(paper(to(create(works(
of(audio(and(visual(coherence(will(be(useful(in(assessing(the(findings(of(this(paper.(A(critical(
analysis(of(the(artistic(work(could(then(be(undertaken(to(relate(to(the(findings(of(this(paper.(
( However,( with( the( limitations( of( a( Masters( dissertation,( this( paper( has( provided( a(
documentary( survey( of( the( current( scene( in( the( field( of( audio,( visual( and( audiovisual( arts,(
while( achieving( a( balance( in( documenting( audiovisual( works( in( the( perspectives( of(
musicians.(With(the(advent(of(audiovisuality(aging(back(to(the(1700s,(its(progression(into(the(
contemporary(modern(era(has(seen(new(methods(of(production,(techniques(in(composition,(
technological( advances( and( utilisation,( as( well( as( the( artistic( aesthetics( in( audiovisual(
practices.(Although(this(paper(placed(emphasis(on(the(musicians’(point(of(view,(it(could(also(
be( approached( and( interpreted( by( amateurs( interested( in( visually( expressing( their( musical(
works,( as( well( as( general( art( practitioners( that( are( diverging( and( merging( into( different(
forms(of(art(that(incorporate(aspects(of(audio(and(visual(elements.((
The( practical( field( research( hosted( in( Berlin,( Germany( also( proved( the( longevity( of(
audiovisual(art,(seen(from(the(support(of(the(community(based(on(the(turnout(rate(of(the(
! Y3836419((((((((75!
festival.( The( diversity( in( works( and( different( formats( of( performances( have( sparked( the(
demand(in(festivals(to(support(artists(to(implement,(execute(and(present(their(audiovisual(
works( to( a( larger( public.( Support( and( funding( from( art( organisations( further( prove( the(
potential( within( the( field( of( the( new( and( contemporary( arts( scene.( This( also( provides(
assurance( to( the( practitioners,( acknowledging( the( availability( of( suitable( platforms( and(
venues(to(support(their(artistic(professions.(High(levels(of(musicianship,(artistic(composition(
and( audio( engineering( skills( were( observed( from( the( performers( of( the( festival( as( well,(
indicating(the(need(for(a(balance(in(auditory(and(visual(knowledge(within(audiovisual(works(
that(involve(interdisciplinary(practice.(Artistic,(economic,(social(and(cultural(aspects(are(also(
enhanced( through( the( development( and( popularisation( of( interdisciplinary( practice( to(
produce(audiovisual(works(for(public(performances(and(presentations.(
There(are(various(approaches(utilised(for(audiovisual(creation,(allowing(musicians(to(
produce(artworks(of(individual(artistic(styles.(This(created(a(new(form(of(composition,(where(
audio(and(visuals(elements(are(integrated(using(similar(techniques(and(production(methods.(
Technological( advances( and( interdisciplinary( practices( have( also( led( to( the( increase( in(
demand( for( new( interpretation( of( works,( breaking( traditions,( as( well( as( generating( and(
forming( new( art( movements,( styles( and( content.( The( enhancement( of( roles( and(
technological(expertise(are(also(benefited(when(musicians(create(audiovisual(works(of(their(
own.(There(is(a(foreseeable(future(in(the(field(of(audiovisual(art(where(artists(are(constantly(
improving,( breaking( boundaries( and( generating( new( works( of( art( through( engaging( in(
interdisciplinary(practices.(( (
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pioneers#of#electronic#art,#17.(Linz:(Arts(Electronica,(1992.(
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Hill:(Peterborough(New(Hampshire,(1980.(
Wright,(Timothy(J.(C.(‘Folio(of(Compositions.’(Ph.D.(thesis.(University(of(York,(2013.(
! Y3836419((((((((88!
List'of'Figures'
Fig.(1:(A(caricature(of(Father(LouisOBertrand(Castel’s(Ocular(Harpsichord((............................(12(
Collection.(‘Que(n’ont(ils(tous(Employés(leurs(tems(à(la(meme(Machine.([If(only(they(had(all(
occupied(their(time(on(the(same(machine.]’(Collection.#Waddesdon(Manor,(1740O
1757(Accessed(July(23,(2016.(
http://collection.waddesdon.org.uk/search.do?view=detail&page=1&id=41808&db=
object(
Fig.(2:(Performance(attempt(by(Anna(Gawboy(and(the(Yale(Symphony(Orchestra((...............(12(
YaleCampus.(‘Scriabin’s(Prometheus:(Poem(of(Fire.’(YouTube#video.#YaleCampus,(September(
14,(2010.(Accessed(July(23,(2016.(
https://www.youtube.com/watch?v=V3B7uQ5K0IU((
Fig.(3:(Thomas(Wilfred’s(Lumia(composition((.........................................................................(13(
Eugene(Epstein.(‘The(Lumia(Compositions(of(Thomas(Wilfred:(Selections(From(The(Collection(
of(Eugene(and(Carol(Epstein(–(Introduction.’(Eugene#Epstein.(Eugene(and(Carol(
Epstein(collection(of(works(by(Thomas(Wilfred.(Accessed(July(23,(2016.(
https://wilfredlumia.wordpress.com/((((
Fig.(4:(Kandinsky’s(painting(Impression#III#(Concert)#(1911)(....................................................(14(
Vasily(Kandinsky,(‘Impression(III((Konzert)([Impression(III((Concert)].’(Jpeg(image(of(painting.(
Städtische(Galerie(im(Lenbachhaus,(Munich,(1911.(
Fig.(5:(Luigi(Russolo(Noise(Machines(Intonarumori((1914)((....................................................(15(
Works.(‘Luigi(Russolo:(Intonarumori.’(Works.(Media(Art(Net.(Accessed(July(23,(2016.((
http://www.medienkunstnetz.de/works/intonarumori/((
! Y3836419((((((((89!
Fig.(6:(John(Whitney’s(Arabesque((1975);(computerOgenerated(moving(images(with(sound(
(................................................................................................................................................(16(
Computer(Art(Thesis.(‘A(critical(examination(of(“computer(art”:(John(Whitney’s(use(of(
analogue(computers.’(Computer#Art#Thesis.(Computer(Arts(Society,(2009.(Accessed(
July(23,(2016.(http://computerOartsO
society.com/static/cas/computerartsthesis/index.html%3Fpage_id=117.html(
Fig.(7:(Orchestral(section(of(Fantasia((1940)((..........................................................................(20(
Disney(Screencaps.(‘Fantasia((1940).’(Disney#Screencaps.(Screencaps(US,(March(05,(2013.(
( Accessed(July(23,(2016.(http://disneyscreencaps.com/fantasiaO1940/4((
Fig.(8:(Star(Gate(sequence(of(2001:#A#Space#Odyssey((1968)((.................................................(20(
Cinematography.(‘Douglas(Trumbull:(A(WriterOProducerODirectorOEngineerOInventor(Looks(
Forward.’(Cinematography.(Creative(Cow(Magazine,(2012.(Accessed(July(23,(2016.(
https://library.creativecow.net/kaufman_debra/magazine_29_DouglasOTrumbull/1(
Fig.(9:(John(Whitney’s(slitOscan(technique(in(Catalog((1961)(..................................................(20(
Mark(Sinclair.(‘John(Whitney,(Catalog,(1961.’(Creative#Review.(February(03,(2012.(Accessed(
September(07,(2016.(https://www.creativereview.co.uk/johnOwhitneyOcatalogO1961/(
(
! Y3836419((((((((90!
Fig.(10:(Peter(Wynne(Wilson(handling(the(light(show(for(the(Pink(Floyd(Album(Launch(at(
Porchester(Hall(in(London,(England((2014)((............................................................................(22(
‘Light(Show(At(Pink(Floyd(Album(Launch(At(Porchester(Hall(In(London,(England(2014.’(
Neptune(Pink(Floyd,(2014.(Accessed(July(23,(2016.(
http://www.neptunepinkfloyd.co.uk/enjoyOlouderOthanOwordsOpinkOfloydOvideoOandO
seeOlaunchOpartyOphotosOwithOlightO
show/10518848_10152469461452308_5053994519600411713_o(
Fig.(11:(An(example(of(Pomplamoose’s(Videosong(production((.............................................(24(
PomplamooseMusic.(‘Beat(the(Hourse(–(Pomplamoose(VideoSong.’(PomplamooseMusic.(
YouTube(video,(2008.(Accessed(July(23,(2016.(
https://www.youtube.com/watch?v=8oJgqbgvInk(
Fig.(12:(Beyoncé’s(eponymous(visual(album(in(2013((.............................................................(25(
97.9(The(Box.(‘Beyoncé(Drops(New(Visual(Album([Tracklist(+(Visuals].’(97.9#The#Box.(The(Box(
Houston,(2013.(Accessed(July(23,(2016.(
http://theboxhouston.com/9462277/beyonceOdropsOnewOvisualOalbumOviaO
instagramOtrailer/(and(https://www.youtube.com/watch?v=IcN6Ke2VOrQ(
Fig.(13:(Imogen(Heap’s(Mi.Mu(gloves((....................................................................................(27(
Dezeen(and(Mini(Frontiers.(‘These(gloves(will(“change(the(way(we(make(music,”(says(Imogen(
Heap.’(Dezeen#and#Mini#Frontiers.(Dezeen(Magazine,(2014.(Accessed(July(23,(2016.(
http://www.dezeen.com/2014/03/31/imogenOheapOglovesOminiOfrontiersOmovie/(
(
! Y3836419((((((((91!
Fig.(14:(John(Cage’s(prepared(piano((1947)((...........................................................................(29(
Penn,(Irving.(‘Cage(preparing(a(piano,(in(1947.’(Condé(Nast(Publications(Inc,(in(The(New(
Yorker(October(Issue,(2010.(Accessed(July(23,(2016.(
http://www.newyorker.com/magazine/2010/10/04/searchingOforOsilence(
Fig.(15:(Abstronic(by(Mary(Ellen(Bute((1952);(music(captured(on(the(Cathode(Ray(
Oscilloscope,(filmed(with(the(motion(picture(camera((...........................................................(37(
Mary(Ellen(Bute.(‘Seeing(Sound:(Bute(Retrospective(Program,(with(brief(film(descriptions.’(
Mary#Ellen#Bute.(Center(for(Visual(Music.(Accessed(July(23,(2016.(
http://www.centerforvisualmusic.org/Bute.htm(
Fig.(16:(Daphne(Oram’s(graphical(music(system,(the(Oramics(Machine#(1957)((....................(41(
Features.(‘The(story(of(the(Oramics(Machine.’(Features.#Resident(Advisor(Magazine,(2011.(
Accessed(July(23,(2016.(https://www.residentadvisor.net/features/1305(
Fig.(17:(Walter(Ruttman’s(sound(montage,(Weekend((1930)((................................................(45(
Work.(‘Weekend((Wochenende).’(Work.(OtherFilm.(Accessed(July(23,(2016.(
http://otherfilm.org/weekendOwochenende/(
( (
! Y3836419((((((((92!
List'of'Tables'
Table(1:(Domains(of(audio(and(visual(elements(with(respect(to(motion(parameters((...........(17(
Niall(Moody,(‘Ashitaka:(An(Audiovisual(Instrument,’((Ph.D.(thesis,(University(of(Glasgow,(
2009),(Table(4.2,(76.(
Table(2:(Diagram(that(models(general(forms(of(audiovisual(relationships((............................(17(
SelfOcreated(diagram(
Table(3:(Demonstrating(the(general(design(process(of(Parameter(Mapping(Sonification(......(51(
Florian( Grond( and( Jonathan( Berger.( ‘Parameter( Mapping( Sonification.’( In( The# Sonification#
Handbook,# edited( by( Thomas( Hermann,( Andy( Hunt( and( John( G.( Neuhoff,( Figure(
15.1,(366.(Berlin:(Logos(Verlag,(2011.(
Table(4:(Elements(from(Visuals,(Music,(and(Composition(that(could(be(integrated(together(
(................................................................................................................................................(58(
Maura(McDonnell.(‘Visual(Music(–(Integrated(Composition,’(Conference(presentation(at(the(
Seeing(Sound(Symposium(2009.(Bath(Spa(University,(United(Kingdom.(September(
19O20,(2009),(Slide(1.(http://www.soundingvisual.com/seeingsoundpaper/(
' '
! Y3836419((((((((93!
APPENDIX'A:'Photo'Documentation'of'Berlin'Atonal'2016'
'
(
Image(1:(Berlin(Atonal(2016(Entrance(
(
Image(2:(Carla(Chan’s(‘The(Melting(Black’(Panoramic(Projection(Installation(
! Y3836419((((((((94!
(
Image(3:(Rose(Kallal’s(‘Four(Pillars’(Visual(Installation(
(
Image(4:(Recent(Arts(presents(‘The(History(of(Darkness’(Live(Audiovisual(Performance(
! Y3836419((((((((95!
(
Image(5:(Yuxi.Cao’s(‘Macrocosm’(Panoramic(Projection(Installation(
(
Image(6:(James(Sigha’s(Modular(Synthesiser(Performance(
(
! Y3836419((((((((96!
(
Image(7:(Steina(and(Woody(Vasulka(presents(‘Retrospective(of(Early(Film(Works’(
(
Image(8:(Luis(Sanz’s(‘STM~Intemporal’(Panoramic(Projection(Installation(
! Y3836419((((((((97!
(
Image(9:(Recent(Arts’(‘And(So(On(To(Infinity’(Panoramic(Projection(Installation(
(
Image(10:(Rainer(Kohlberger’s(‘Never(Comes(Tomorrow’(
! Y3836419((((((((98!
(
Image(11:(Second(Woman’s(Live(Audiovisual(Performance(
(
Image(12:(Robin(Fox(presents(RGB,(Live(Laser(Showcase(
! Y3836419((((((((99!
(
Image(13:(Light(Show(Configurations(
(
Image(14:(Berlin(Atonal(Sound(and(Lights(Crew(

Music As Interdisciplinarity A Study of

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explorations( in( technological( processes,( software( experimentation( and( creative( aesthetics(

and( technologies)( are( guiding( practitioners( towards( advancements( within( this(

Research( methods( employed( involve( significant( documentary( analysis,( where(

but( rather( hybrids( transgressing( mediaOdemarcated( boundaries.’ 18 (With( interdisciplinary(

Bainbridge( Bishop.( Alexander( Scriabin,( a( Russian( music( composer,( composed( a( symphonic(

( The( previous( section( mentioned( certain( attributes( regarding( the( connection(

narrative( structuring,( openOendedness,( hookOlike( repetition,( rhythmic( editing(

expressive( discourses.’48(These( evolutions( present( ‘ideas( of( a( technical( separation,( artistic(

improvisation( integrated( extended( techniques,( portraying( more( skills( than( originally(

composerOtoOcomposer,( musicianOtoOmusician,( and( artistOtoOartist.( With( such( practices( onO

performance( context.( These( musical( improvisation( performances( corresponded(

documentation( is( also( an( underOresearched( area,( prominently( having( audiovisual(

twentieth( century,( especially( through( technological( advances,( interdisciplinary( trends( and(

‘transmutability( of( digital( data,( generative( autonomy( and( interactive( performativity.’66(This(

waveforms( that( often( accompanied( analogue( synthesizers( and( other( soundOproducing(

RealYTime# Exploration/Experimentation( (VAMPIRE,( 1974O76)( enabled( parameter(

music( producer( –( from( preOproduction,( actual( recording,( postOproduction( to( producing( a(

contain( potential( for( expansion,( notably( the( ‘transformative,( processOoriented,(

modal( experiences,( multimedia( processes( and( performances;( defining( individual( meaning(

oneOtoOone,( oneOtoOmany( (divergent)( and( manyOtoOone( (convergent)( mappings.( These(

as(mentioned(in(Chapter(5.( Through( the( compositional( system( devised( by( Schillinger,( Bute(

‘MediaOtechnological( operations( become( the( basis( for( devising( soundOimage(

established(international(and(local(artists.’125(The(fiveOday( festival( was( housed( in(Kraftwerk#

APPENDIX( A( presents( photographs( from( Berlin# Atonal,( demonstrating( the( different(

generally( computer( and( machineOgenerated( that( included( synthesisers( and( hardware(

technological( knowledge,( manipulated( film( images( and( computerOgenerated( visuals( and(

( Some( audiovisual( relationships( observed( include( prominent( divergent( and(

( The( festival( received( an( overwhelming( response,( having( soldOout( performances(

Possibilities( For( Its( Documentation.’( Accessed( July( 17,( 2016.(

Dangerous( Minds.( September( 07,( 2011.( Accessed( July( 19,( 2016.(

Daniels,(Dieter.(‘Media(→! Art(/(Art(→ Media:(Forerunners(of(media(art(in(the(first(half(of(the(

Image,( 2005.( Accessed( July( 03,( 2016.( http://www.mediaartnet.org/themes/imageO

Accessed( July( 30,( 2016.( http://earthzine.org/2013/07/23/sonificationOdataOlikeO

Music# Industry.( Ibiza:( IMS,( 2016.( Accessed( July( 30,( 2016.#

Kurt( Hugo( Schneider.( YouTube( channel.( Accessed( July( 23,( 2016.(

Stone.( August( 19,( 2016.( Accessed( September( 07,( 2016.(

2016.( Accessed( August( 20,( 2016.( http://www.musicboardOberlin.de/berlinOatonalO

(Haftungsbeschränkt).( Accessed( July( 14,( 2016.( http://www.berlinO

Visual# Music,( 2008.( Accessed( July( 25,( 2016.(

PomplamooseMusic.( YouTube( channel.( Accessed( July( 23,( 2016.(

PostmodernJukebox.( YouTube( channel.( Accessed( July( 23,( 2016.(

August( 14,( 2013.( Accessed( July( 30,( 2016,(

Nature# 408( (December( 2000):( 768.( Accessed( July( 19,( 2016.(

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