Abstract Art, Animation and Audio-Visual Cohesion
- Submitting institution
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Staffordshire University
- Unit of assessment
- 34 - Communication, Cultural and Media Studies, Library and Information Management
- Output identifier
- Lists 85
- Type
- J - Composition
- Month
- -
- Year
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- Yes
- Number of additional authors
-
-
- Research group(s)
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A - The C3 Centre: Creative Industries and Creative Communities
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This multi-component output is contextualised by the article Approaches to Composition in Visual Music: An Artist’s Reflection on Three Original Pieces. and represents creative output over a 3 year period between 2015 and 2017. Exploring sound and image relationships and techniques for creating audio-visual cohesion, it uses abstract geometric animation coupled with electronic sound. The creative works employ various techniques of audio-visual synchronisation, mimesis and parametric mapping. Specifically, Ciracadian Echoes uses a mimetic approach towards portraying dancers’ motion in both sound and image. Circadian Echoes was inspired by Norman McClaren's short film ‘Pas de Deux’ (1968), in which two people perform a dance routine. Their performance was recorded and enhanced by various post-production optical effects. In approaching this composition, consideration was given to how the dancer’s arm and hand movements could be transformed into
gestural surrogates in a similar way to Smalley's discussion on the development of sound materials (1997). Synthetic Electro Replicant explores audio-visual rhythms and syncopation in beat-based compositions while Neon Vibration uses parametric
mapping to create a gestural meta-narrative. Techniques of material transference are also explored and achieved through this approach. This body of work demonstrates that the use of programmed animation and sound synthesis permits
the precise definition of audio-visual parameters leading to deeper isomorphic relationships. Select performances include ICMC Conference Shanghai China, Synchresis, Program 28. Granada Spain, flEXiff Experimental Film Festival. Sydney
Australia and Visual Music Full Dome Festival. Morelos Mexico.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
