VISUAL MUSIC:

2021 ◽  
pp. 172-191
Keyword(s):  
Author(s):  
Jonathan Weinel

This chapter discusses altered states of consciousness in audio-visual media, such as films, psychedelic light shows, and VJ performances. First, some background theory is introduced, explaining the main categories of film sound, and what research tells us regarding the way in which sound influences the perception of visual images and vice versa. Following this background section, a tour is provided through various films that represent altered states of consciousness, including surrealist movies, ‘trance films’, and Hollywood feature films. These demonstrate a progression, where more recent movies are able to make use of digital audio and visual effects to represent the subjective experience of altered states with improved accuracy. Meanwhile, beyond the traditional confines of the cinema, ‘expanded cinema’ works such as visual music, psychedelic light shows, and VJ performances have provided increasingly sophisticated synaesthetic experiences, which are designed to transform the consciousness of their audience.


Leonardo ◽  
1987 ◽  
Vol 20 (2) ◽  
pp. 205
Author(s):  
John Whitney
Keyword(s):  

2019 ◽  
Vol 29 ◽  
pp. 62-66
Author(s):  
Dave Payling

This article discusses the author’s visual music compositional practice in the context of similar work in this field. It specifically examines three pieces created between 2015 and 2017 that fused digital animation techniques with electronic sound. This approach contrasted with the author’s earlier compositions, which featured electroacoustic music and video concrète.


2021 ◽  
pp. 7-30
Author(s):  
Alberto Novello

This article describes the intersection of Media Archaeology and Visual Music in my artistic practice that repurposes obsolete devices to investigate new connections between light and sound. I revive and hack tools from our analogue past: oscilloscopes, early game consoles, and lasers. I am attracted to their aesthetic difference from the ubiquitous digital projections: fluid beam movement, vibrant light, infinite resolution, absence of frame rate, and line-based image. The premise behind all my work is the synthesis of both image and sound from the same signal. This strong connection envelopes the audience in synchronous audiovisual information that reveals underlying geometric properties of sound. In this text I describe the practice and the aesthetic potentials connected to few analog and digital hybridized systems to generate new sonic and visual experiences.


2020 ◽  
Vol 3 (1) ◽  
pp. 98-113
Author(s):  
Citra Kemala Putri

Mass culture and popular culture is one of the important phenomena that was born after the postmodern era. In a society that lives in the midst of mass culture and popular culture, will grow consumer communities that produce new cultural symbols and activities. This discourse then influenced various aspects, for example, the emergence of popular music and popular art movements which soon became a commodities that was consumed by many youth people. This study discusses the influence of popular culture on the visuals of music album covers which take several album covers of international musicians from different time periods as samples to compare the similarities or friction caused by various art developments as their response toward happening trends. This study uses qualitative method. This study of various visual images was considering the aesthetic idioms of postmodernism, including Pastiche, Parody, Kitsch, Camp and Schizophrenia, as well as the concepts of several art movements, such as Pop Art and Lowbrow Art. The final result of this study reveal that several music albums using the Pop Art and Lowbrow Art style contained postmodern aesthetic idioms. Each album cover can contain one or several aesthetic idioms simultaneously.


Author(s):  
Christian Mayer ◽  
Patrick Pogscheba ◽  
Dionysios Marinos ◽  
Björn Wöldecke ◽  
Christian Geiger

2005 ◽  
Vol 29 (4) ◽  
pp. 25-35 ◽  
Author(s):  
Roger B. Dannenberg

Author(s):  
Andreia Machado Oliveira ◽  
Matheus Moreno dos Santos Camargo ◽  
Luyanda Zindela

This article presents the “Virtual Monuments” project that explores alternative modes of video production and projection, investigating other media, formats and practices. Our fulldome project is a collaborative interdisciplinary project jointly produced by the Federal University of Santa Maria/Labinter (Santa Maria, Brazil), Durban University of Technology/ Interdisciplinary Lab (Durban, South Africa) and the Federal University of Ceará (Fortaleza, Brazil). The aim of this project is to use the planetariums or different surfaces in these cities as sites for the projection of digital monuments collaboratively produced and shared between the three participating cities. Monuments are usually considered structures that occupy public spaces as cultural symbols commemorating important figures, events or elements of a culture´s heritage. Monuments can also be seen as sites where power can either be enforced or contested. The Virtual Monuments project was produced jointly as an experiment in multi-sited, collaborative, interdisciplinary creation between the three participating institutions in order to expand our understanding of the dynamic collaborative processes of ideation, creation, production, participation exhibition and reception. Each site contributed and participated in the creation of the others’ artworks, each one sharing their creativity and know-how to collectively realize these monuments as a tentative siting of dissolution of hierarchies and power structures within institutional creative environments. The project has been showcased in international events such as “Understanding Visual Music - UVM” at the Galileo Galilei Planetarium of Buenos Aires, “DIGIFEST” at Durban University of Technology, and “EFEMERA” at the UFSM Planetarium in Brasil.


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