I already made a post on this under
3 DE NOVIEMBRE DE 2019
I think it is important to draw the distinction made here in this article, between synaesthesia and intermedia:
Intermedia was a term used in the mid-1960s by Fluxus artist Dick Higgins to describe various inter-disciplinary art activities that occurred between genres in the 1960s.
Synesthesia is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to involuntary experiences in a second sensory or cognitive pathway.
I have seen intermedia also been described in many academic programs as: multidisciplinary, transdisciplinary and cross-disciplinary (more here)
I also like to think that the way I engage with the production of artwork has to do with the triggering power of sound, and therefore, of musical structures in defining visual imagery. This might contain architecture, small scale structures, props, fashion, bodies, and the time element of movement linked to the expressiveness of sound.
This means that the following definition is important:
Visual music refers to the use of musical structures in visual imagery.
Visual music also refers to systems which convert music or sound directly into visual forms, such as film, video, computer graphics, installations or performances by means of a mechanical instrument, an artist's interpretation, or a computer.
This implies that the reverse can also be true, by reverse engineering these relationships.
Visual music
Visual music, sometimes called colour music, refers to the use of musical structures in visual imagery, which can also include silent films or silent Lumia work. It also refers to methods or devices which can translate sounds or music into a related visual presentation. An expanded definition may include the translation of music to painting; this was the original definition of the term, as coined by Roger Fry in 1912 to describe the work of Wassily Kandinsky.[1] There are a variety of definitions of visual music, particularly as the field continues to expand. In some recent writing, usually in the fine art world, visual music is often confused with or defined as synaesthesia, though historically this has never been a definition of visual music. Visual music has also been defined as a form of intermedia.
Visual music also refers to systems which convert music or sound directly into visual forms, such as film, video, computer graphics, installations or performances by means of a mechanical instrument, an artist's interpretation, or a computer. The reverse is applicable also, literally converting images to sound by drawn objects and figures on a film's soundtrack, in a technique known as drawn or graphical sound. Famous visual music artists include Jordan Belson, Oskar Fischinger, Norman McLaren, John Whitney Sr., and Thomas Wilfred, plus a number contemporary artists
On film[edit]
Visual music and abstract film or video often coincide. Some of the earliest known films of these two genres were hand-painted works produced by the Futurists Bruno Corra[3] and Arnaldo Ginna between 1911 and 1912 (as they report in the Futurist Manifesto of Cinema), which are now lost. Mary Hallock-Greenewalt produced several reels of hand-painted films (although not traditional motion pictures) that are held by the Historical Society of Philadelphia. Like the Futurist films, and many other visual music films, her 'films' were meant to be a visualization of musical form.
Notable visual music filmmakers include: Walter Ruttmann, Hans Richter, Viking Eggeling, Oskar Fischinger, Len Lye, Jordan Belson, Norman McLaren, Harry Smith, Hy Hirsh, John and James Whitney, Steven Woloshen and many others up to present day.
Artist Larry Cuba, founded the iota Fund in 1994, which was later called iotaCenter. They currently own the films of such artists as Sara Petty, Adam Beckett, some of the films of Jules Engel, Sky David, Robert Darroll and others. They hosted the renowned Kinetica programs (1999–2003) touring the world introducing new audiences to the wonders of visual music.
Computer graphics[edit]
The cathode ray tube made possible the oscilloscope, an early electronic device that can produce images that are easily associated with sounds from microphones. The modern Laser lighting display displays wave patterns produced by similar circuitry. The imagery used to represent audio in digital audio workstations is largely based on familiar oscilloscope patterns.
The Animusic company (originally called 'Visual Music') has repeatedly demonstrated the use of computers to convert music — principally pop-rock based and composed as MIDI events — to animations. Graphic artist-designed virtual instruments which either play themselves or are played by virtual objects are all, along with the sounds, controlled by MIDI instructions.[4]
In the image-to-sound sphere, MetaSynth[5] includes a feature which converts images to sounds. The tool uses drawn or imported bitmap images, which can be manipulated with graphic tools, to generate new sounds or process existing audio. A reverse function allows the creation of images from sounds.[6]
Some media player software generates animated imagery or music visualization based on a piece of recorded music:
- autom@ted_VisualMusiC_ 4.0 planned and realized by Sergio Maltagliati. This program can be configured to create random multiple visual-music variations, starting from a simple sonorous/visual cell. It generates a new and original audio-visual composition each time play is clicked.
notation[edit]
Many composers have applied graphic notation to write compositions. Pioneering examples are the graphical scores of John Cage and Morton Feldman. Also known is the graphical score of György Ligetis Artikulation designed by Rainer Wehinger.
Musical theorists such as Harry Partch, Erv Wilson, Ivor Darreg, Glenn Branca, and Yuri Landman applied geometry in detailed visual musical diagrams explaining microtonal structures and musical scales.
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