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Visual Music

The Visual Music blog by Maura McDonnell gathers resources of interest to the art of visual music. The blog in particular includes websites that document work, artists, filmmakers, composers, musicians, video artists, exhibitions, call for worlds and events that work with the art and medium of visual and sound. All forms and presentations of visual music and audiovisual composition and performance are considered. This blog contains an extensive archive as it has been active since 2005.

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Showing posts with the label Visual Music Programme

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Visual Music - Supporting Programme
VISUAL MUSIC PROGRAMME at 18th Stuttgart International Festival of Animated Film The Stuttgart International Festival of Animated Film, May 2011 presented a Visual Music supporting programme at the festival. http://www.itfs.de/en/ CVM (Center for Visual Music) presented two historical programs of abstract animated films by Oskar Fischinger, including preserved prints and rarely-screened films. Title of Program: Oskar Fischinger Retrospective , May 7, 2011 Cornelia and Holger Lund presented contemporary visual music Title of Programme: Visual Music: Contemporary , May 8, 2011. A programme was put together on Norman McLaren Title of Programme: The animator as musician , May 6, 2011 See: http://www.itfs.de/en/programmes/supporting-programme/visual-music.h…

on May 06, 2011

Animation Festival contemporary practice CVM Exhibitions Conferences Festivals historical lecture Screening Stuttgart Visual Music Visual Music Programme

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Maura McDonnell: Maura McDonnell is a visual music artist and researcher based in Ireland. She creates visuals for new music and electronic music concerts, fixed media and installation productions. The medium of choice is visual effects and generative effects video and the style of her work is abstract. The meaningfulness that she seeks in her work is to explore the emotional, musical and evocativeness potential of music in a shared similarly crafted visual world. Maura also lectures on the M.Phil in Music Media Technology Masters Course at Trinity College, Dublin, Ireland and support students to engage with visual music in their own works. Please get in touch if you would like to include your work or research on this blog.

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  - Larry Cuba - Extract from Film First Fig (1974)

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Links to Useful Resources

Center for Visual Music
Cimatics
Colour and Sound - Visual Music
Digicult
IotaCenter
Musica Visual
Pixelsumo
Projet Synesthéorie
Rhythmic Light
Seeing Sound Symposium
Sonore-visuel
Video Circuits
Visual Music Archive
Visual Music Marathon
Visual Music Ning

Popular Posts

Contact - Augmented Acoustics

Felix Faire (UK), a Parametric System Designer had designed some very interesting interactive installations. One of these, Contact is an interface with which to manipulate and visualize sounds. Beautiful results. View Contact: Augmented Acoustics CONTACT: Augmented Acoustics from Felix Faire on Vimeo . "CONTACT is a tangible audio interface to manipulate and visualize sounds generated from interaction with a simple wooden surface. Any physical contact with the table generates acoustic vibrations which are manipulated and visualized LIVE as they occur using several communicating pieces of software. All code will be opensource and available on github. Bartlett School of Architecture Msc AAC Tutor: Ruairi Glynn" More information: http://www.coroflot.com/felixfaire/profile Vimeo Channel: https://vimeo.com/felixfaire

Ryoichi Kurokawa - Japan - audiovisual artist

"Ryoichi Kurokawa is a japanese audiovisual artist. His works take on multiple forms such as screening works, recordings, installation and live performance. Kurokawa composes time based sculpture with digital generated materials and field recorded sources, and the minimal and the complexities coexist there. Kurokawa accepts sound and imagery as a unit not as separately, and constructs very exquisite and precise computer based works with the audiovisual language. That shortens mutual distance, the reciprocity and the synchronization of sound and visual composition. He also performed live-visual for musicians such as HUMAN AUDIO SPONGE(ex.YMO: Sketch Show + Ryuichi Sakamoto). In recent years, Kurokawa is invited to numerous noted international festivals and museums in Europe, US and Asia including TATE MODERN[UK], ARS ELECTRONICA[AT], transmediale[DE], Shanghai eARTS[CN], MUTEK[CA], TodaysArt[NL] and SONAR[ES] for exhibition, screening or audiovisual concert, and he continues to be

biot(h)ing - Invisibles - Alisa Andrasek

I have just come across this most interesting installation research project to be shortly exhibited in paris. There is a lot of imagery that uses software generative processes to create "scripted" imagery - these images are always incredibly beautiful, and ordered displaying the most wonderful 'ordered' patterns that would be very hard to realise/create by hand processes. When these patterns are tied up to audio processes, then the most incredible synergy seems to take place. This project is a very physical realisation of both scripted animation and an interactive sonar field. What caught my eye was the imagery and the tight connection with sound. (Author comment) "b iot(h)ing - Invisibles is an interactive installation exhibited at the Prague Biennale and is to be exhibited at the Centre Pompidou in Paris in 2009. ‘Invisibles' by biot(h)ing uses holosonic speakers to create sound patterns projected into an interactive space. These speakers isolate indi

D.D. Jameson - Colour Music (1844)

D.D. Jameson devised a systematic approach to create a colour music score for a specially adapted piano. His scores took the information from a piano music score and applied it to a sound-music colour scheme and translated it into a colour score. The colour score communicated the musical information - such as notes, rhythm, durations. His score was to link to a special adaptation of a piano music instrument that would have the keys prepared with the relevant colours. The musician could then play the piano by following the colour music score. Not only were the piano keys to be coloured according to his colour to tone analogy system but the score was to also communicate other aspects of the musicianship such as: the intervals of the music, the notes and their octaves, by mapping the height of the colour to the octave of the note and the width of the colour to the duration of the note. "A pianoforte having been prepared in the manner described, any air may be slo

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Maura McDonnell