Watkins, Julie ORCID: 0000-0001-8872-7041 (2019) Composing visual music: human traces, from an animator’s perspective. [Dataset] (Unpublished)

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Abstract

Composing visual music: human traces, from an animator’s perspective

Originality
This multi-component output is original as it expands on the concept of visual music to include embodied visceral affect and a broader visual arts context, which underpin the development of a new visual and expanded visual music and an original framework for composing. This work contributes to a less explored area of research focusing on composing visual music in the twenty-first century,
helping to reframe visual music in terms of how it is perceived, how it is created and how it is displayed.

Rigour
This multi-component output examined existing practices within embodied interaction with sound and image. Over six years of interdiscplinary practice, several methodologies and modes of knowledge (know-how, know-what and know-that) were blended using the framework of Practice as Research, through iteratively creating, widely sharing and evaluating the work and undertaking further theoretical research, as evidenced below. The overarching methodology was to pursue two diametrically opposite modes of composition. Starting from the aspiration to create a universal language by synthesising visuals and audio in a meaningful way was evaluated against starting from the premise of expressivity and phenomenological experiences. This culminated in a framework for composition that frees visual music from musical structures, and offers a phenomenological approach to visual music composition that could be particularly apposite for artists, animators and performers.

Significance
In Watkins’ PhD viva Joe King, artist film/maker at the Royal College of Art, and Susan Broadhurst, Professor of Performance and Technology at Brunel University London, recognised that the framework is an original contribution to the field that expands the concept of visual music.
Collectively the journal articles, conference papers, installations 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, art, music, dance, theatre and the sciences.

Item Type:	Dataset
Uncontrolled Keywords:	visual music, abstraction animation, affect, composing
Subjects:	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)
Last Modified:	05 Nov 2020 09:25
URI:	http://gala.gre.ac.uk/id/eprint/26293

Available Versions of this Item

• Composing visual music: human traces, from an animator’s perspective. (deposited 11 Feb 2020 10:01) [Currently Displayed]
  • Composing visual music: human traces, from an animator’s perspective: REF Multi-component portfolio. (deposited 03 May 2020 21:55)

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