Composing Visual Music: Human Traces, from an Animator’s Perspective
- Submitting institution
-
University of Greenwich
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 19363-MCO-UOA32-JW1
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Multi-component output
- Open access status
- -
- Month
- April
- Year
- 2018
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- Composing Visual Music: visual music practice at the intersection of technology, audio-visual rhythms and human traces is being submitted with a request for double weighting as it is a multi-component output that demonstrates a sustained research effort over six years. This output culminates in an expanded definition of visual music based on an argument that was dependent on a lengthy investigation using the multi-layered approach of practice as research. It compromises of numerous interlinked components augmented by extensive dissimulation.
- Reserve for an output with double weighting
- No
- Additional information
- This multi-component output expands on the concept of visual music to include embodied visceral affect and a broader visual arts context underpinning the development of a new expanded visual music. This work contributes to a less explored area of research, focusing on composing visual music in the twenty-first century, re-framing modernist traditions in light of post-modern understandings of subjectivity and affect, leading to new understandings in how visual music is perceived, created and displayed.
Over six years this research interrogated practices within embodied interaction with sound and image, drawing on interdisciplinary methodologies and modes of knowledge. Know-how, know-what and know-that were blended using the framework of Practice as Research, iteratively creating, widely sharing and evaluating, before undertaking further investigation, an action research methodology. The project pursued two diametrically opposite modes of composition. Aspiration for a universal language of visual music, via audiovisual synthesis, was evaluated against the premise of expressivity and phenomenological experience. This culminated in a reframing of visual music, freeing it from musical structures, and offering a phenomenological approach to composition that could be particularly apposite for artists, animators and performers.
Collectively the journal articles, exhibitions, installations, conference presentations and films of this multi-component output have been widely disseminated, adding knowledge to creative communities via international journals of contemporary artistic practice and research and in international communities concerned with film, animation, art, music, dance, theatre, immersive environments and the sciences. This research has the potential to benefit scholars, researchers and creative practitioners investigating sound and image relationships, visual music, animation, affective virtual reality and immersive environments.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
