Abstract
Visual music as a field of practice and research has a complex hybrid history that includes visual scores, structural cinema practice, and a wide array of animation techniques, through to generative code driven approaches. Central to all of these diverse subfields are two unifying ideas. The first is the bi-directional relationship to sound where moving imagery and sound exist perceptually as a continuum within the form dialoguing with each other. The second is the older concept of composition in the musical tradition acting as an overarching concept that drives the shape of the creative intent and output. In this paper, we outline in detail using case studies from recent work the generative possibilities of the form and the ways that hybrid inclusive approaches that meld disparate technologies, traditions and techniques can not only expand the creative and expressive possibilities, but also develop richer forms of data and computer vision technique that can resonate both culturally and artistically. As a language with a long history in both art and design we demonstrate how concentrating on the form as a discrete under-explored tradition through exploratory practice can enable new languages and understandings to be developed.
Presenters
Christopher CainesPhD Researcher, University of Newcastle, Australia Rewa Wright
Lecturer in Creative Technology, School of Creative Industries, the University of Newcastle, New South Wales, Australia Jon Drummond
Associate Professor, School of Creative Industries, College of Human and Social Futures, The University of Newcastle, Australia, New South Wales, Australia
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
2022 Special Focus—Back to Life: Seeking Vision and Purpose in Principles and Practice
KEYWORDS
VISUAL MUSIC, ART, HYBRID
