Watkins, Julie ORCID: https://orcid.org/0000-0001-8872-7041 (2018) Creating Affective Visual Music. In: Proceedings of Proceedings of EVA London 2018, UK. ScienceOpen, pp. 374-381. (doi:10.14236/ewic/EVA2018.70)

PDF (Author Accepted Manuscript) 20009 WATKINS_Creating_Affective_Visual_Music_2018.pdf - Accepted Version Restricted to Registered users only Download (574kB) | Request a copy

Abstract

This paper delineates the on-going development of a methodology for creating affective visual music. Visual music is a creative practice that does not split the eye and ear; it problematizes this long-standing duality and seeks to make a singularity. Visual music encompasses many types of output: abstract paintings, time-based performance art such as colour organs, abstract film, projected light shows, art installations of film and expanded cinema (digital media). The impulse to find correspondences between music and visuals and use these to create a new genre has a long history. This practice-based research is historicised and highlights both the key seminal influences underpinning the work and the innovations embodied within it. This paper will discuss experimental, visual music pieces from my own practice (Watkins 2016, 2017, 2018) that employ Ron Kuivila’s strategy ‘over’ technology and seminal works from the visual music canon. Visual music is often approached from the view point of a musical composer, this practice-based research is visually led; This paper delineates the on-going development of a methodology for creating affective visual music. Visual music is a creative practice that does not split the eye and ear; it problematizes this long-standing duality and seeks to make a singularity. Visual music encompasses many types of output: abstract paintings, time-based performance art such as colour organs, abstract film, projected light shows, art installations of film and expanded cinema (digital media). The impulse to find correspondences between music and visuals and use these to create a new genre has a long history. This practice-based research is historicised and highlights both the key seminal influences underpinning the work and the innovations embodied within it. This paper will discuss experimental, visual music pieces from my own practice (Watkins 2016, 2017, 2018) that employ Ron Kuivila’s strategy ‘over’ technology and seminal works from the visual music canon. Visual music is often approached from the view point of a musical composer, this practice-based research is visually led; visual structures, rather than musical structures, are explored. Visual music can be perceived as overly repetitive, cold and alienating if it has a purely mechanical alignment of music to image, or if it seems disengaged from both human emotions and natural imagery. A key objective is to create work that is non-figurative, non-narrative, pre-language, extra-language, and yet suffused with human presence, to create visual music that is affective. structures, rather than musical structures, are explored. Visual music can be perceived as overly repetitive, cold and alienating if it has a purely mechanical alignment of music to image, or if it seems disengaged from both human emotions and natural imagery. A key objective is to create work that is non-figurative, non-narrative, pre-language, extra-language, and yet suffused with human presence, to create visual music that is affective.

Item Type:	Conference Proceedings
Title of Proceedings:	Proceedings of Proceedings of EVA London 2018, UK
Uncontrolled Keywords:	visual music, affect, human traces, visual structure, rhythm, practice-based research
Subjects:	M Music and Books on Music > M Music N Fine Arts > N Visual arts (General) For photography, see TR
Faculty / School / Research Centre / Research Group:	Faculty of Liberal Arts & Sciences Faculty of Liberal Arts & Sciences > School of Design (DES)
Related URLs:	Organisation
Last Modified:	05 Nov 2020 09:25
URI:	http://gala.gre.ac.uk/id/eprint/20009

Actions (login required)

View Item

Downloads