Presentation of PhD topic - My Research is .. for the History and Theory of Digital Arts Core Module of the DAH stuctured PhD programme, Trinity College, Dublin
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Maura McDonnell - Visual Music Research Topic
1. DAH (Digital Arts and Humanities) PhD Candidate, Trinity College, Dublin
Presentation prepared for
History and Theory of Digital Arts
Core Module
ATRL Theatre, 20 th February, 2012
http://visualmusic.blogspot.com
http://www.soundingvisual.com
http://soundingvisual.blogspot.com
2. A visually artistic and musical approach
to constructing abstract audiovisual
videos
HOWEVER, visual music does not have a
home
› A traditional genre/art form that it can call
home
It is not cinema, it is not music, it is not
painting
Prepared by Maura McDonnell 2O Februrary 2012
3. In contemporary practice, visual music can
be experienced /seen /heard
› Cinematic settings
› Music Concert settings
› Art Galleries
› Events type settings – festivals, special event
It is:
› Fixed media, interactive, generative, live, part of
performance
?:
› an art form or a method (way of doing art)
Prepared by Maura McDonnell 2O Februrary 2012
4. Visual music is not just about putting a
video beside/alongside a piece of music
A visual music work typically crafts the
images TO THE music/sound design/sound
effects.
In a way, visual music is the ultimate in
music listening...
In another way, visual music is the ultimate
artistic exploration of music in cinema –
where music is first and leads the way
Prepared by Maura McDonnell 2O Februrary 2012
5. The visuals in a visual music work is the
image that the music is played on.
1920s european avant-garde cinema
› Viking Eggeling, Hans Richter, Walther
Ruttmann
› Viking Eggeling “screen is the instrument that
the film is played on”
Prepared by Maura McDonnell 2O Februrary 2012
6. Those that work with musical constructs
are of most interest
Prepared by Maura McDonnell 2O Februrary 2012
7. Musical counterpoint became the
influence from which to construct
elegant pictorial forms
Prepared by Maura McDonnell 2O Februrary 2012
8. Watch SymphonieDiagonale by Viking Eggeling
on youtube
This version has no soundtrack PHEW!!!
http://youtu.be/uc5qPMSVixQ
Prepared by Maura McDonnell 2O Februrary 2012
9. The concept and construct of
counterpoint has been adapted to his
painting compositions
Paul Klee - Ancient Sound - 1926
Prepared by Maura McDonnell 2O Februrary 2012
10. Contemporary intermedia artist who
explores in its most elegant and simple
forms ideas about counterpoint
between image and music
Watch on vimeo: http://vimeo.com/25529978
Prepared by Maura McDonnell 2O Februrary 2012
11. Musical constructs in my earlier works –
concept of musical harmony in image
and sound
However, increasingly interested in
acousmatic music and music concrete
and electroacoustic music composition
› Music sources are hidden
› New sounds revealed through manipulation
I see similar analogies in visuals that I
explored in recent work
Prepared by Maura McDonnell 2O Februrary 2012
It is not cinema, it is not music, it is not painting. However, it draws its influences and techniques from all these things and so, it could be said that visual music is a hybrid art form, but it is also a hybrid activity.
Verbs denote activities – action a doing word – the doing will get you your techniquesNouns aren’t verbs they are static fixed such as chairExample swimming is verbal noun
OWN NOTES FROM MMT LECTURESMusic based ideasCounterpoint, ratherthan harmonyInversionImitationAugmentation/DiminutionPhilosophical ideas:“universal visualLanguage”
From my own writing:Paul Klee focused on using formal music structures to compose his paintings; in particular he studied the music composer Bach’s music compositions. He worked out his own system of composition, based on the Baroque music structures of polyphony and fugue as used by Bach, and devised an analogous structure for the field of painting. Colour was also important and corresponded to the ‘expressive content of musical tone’. As Klee commented: ‘Colour has always had something secretive about it that is difficult to grasp. This mysterious quality penetrates the mind’. HajoDüchting. “Paul Klee: Painting Music”, Munich, London, New York: PrestelVerlag, 2002, p 45