Visual Music

This chapter, for the forthcoming edited collection, _In the Shadow of the Phonograph_, explores some of the ways in which musical cultures of mourning respond to what Steven Shaviro (2010) has termed new ‘media regimes’ that emerged after the Holocaust.  By ‘media regimes’, Shaviro is referring to the ways in which media are periodically re-ordered, re-hierarchized, and incorporate new media, transforming some of the ways in which we conceive of communication and the production of meaning.  Although Shaviro does not refer to the Holocaust in his theory of the media regime (indeed he is keen to avoid ‘periodisations’ of any kind), this chapter proposes the notion that the Holocaust, as a complex and slow-to-emerge challenge to conventional historiographies of mourning, arrives to us always already mediated, always already marked by the journey from the field of atrocities to the sites of mourning, judicial action, or comprehension. It is thus always already marked by the media regime in which it “arrives”. This ‘journey’ (usefully captured in Friedrich Kittler’s notion of material ‘transposition’ [1990]), has been mapped relatively comprehensively in studies of literature, testimony, and other textually-mediated forms but relatively little exists in the literature on phonographies of the Holocaust.

Dockum’s experimental MobilColor was a custom-built, interactive motor-driven projector that created live, abstract color compositions. Developed between 1935 and 1952, it is examined here as a precursor to a cybernetic conception of cinema, an analogue computer, in which filmic matter becomes information and control.

Cet article propose une généalogie à la fois technique, culturelle et plastique de l’émergence des écrans et de l’imagerie électronique au XXe siècle. Là où les études de médias se sont principalement concentrées sur les avancées techniques de la télévision et du radar pour comprendre ces phénomènes, il s’agit ici de mettre au jour une série d’expérimentations artistiques nord-américaines remontant à l’entre-deux-guerres. Ces contributions significatives à l’exploration du potentiel de l’imagerie électronique furent le fruit de dialogues et de collaborations entre les laboratoires d’ingénierie des grandes sociétés de télécommunications et des artistes pionniers dans le domaine des médias visuels. En particulier, l’article aborde ce sujet au prisme des remédiations de l’art de la « Mobile Color » de Thomas Wilfred et à travers le critère technique de l’intensité lumineuse des images.

This article examines the little-known colour film experiments of
the Synchromists, an avant-garde group founded in the 1910s by US
painters Stanton Macdonald-Wright and Morgan Russell. It focuses
on the Synchrome Corporation, a company founded by MacdonaldWright in Los Angeles in the 1920s to develop new colour film techniques. Through an analysis of archival material, including unpublished letters between Macdonald-Wright and Russell, and patents, I trace and contextualise the Synchromists’ efforts within the
political and industrial dynamics of the interwar period and examine
Macdonald’s subversive approach to film as a technological and
ideological construct.
Drawing on recent developments in format studies, media archaeology, and machine epistemology, I use this case study as an invitation
to re-evaluate the existing concepts of ‘visual music’ and ‘intermedia’
that have been adopted to discuss early experimental film. The
methodological model I propose highlights the interconnectedness
of technical innovation, industrial ambition, and artistic modernism,
in an attempt to enrich our understanding of early experimental film
history.

This article examines the little-known colour film experiments of
the Synchromists, an avant-garde group founded in the 1910s by US
painters Stanton Macdonald-Wright and Morgan Russell. It focuses
on the Synchrome Corporation, a company founded by MacdonaldWright in Los Angeles in the 1920s to develop new colour film techniques. Through an analysis of archival material, including unpublished letters between Macdonald-Wright and Russell, and patents, I trace and contextualise the Synchromists’ efforts within the
political and industrial dynamics of the interwar period and examine
Macdonald’s subversive approach to film as a technological and
ideological construct.
Drawing on recent developments in format studies, media archaeology, and machine epistemology, I use this case study as an invitation
to re-evaluate the existing concepts of ‘visual music’ and ‘intermedia’
that have been adopted to discuss early experimental film. The
methodological model I propose highlights the interconnectedness
of technical innovation, industrial ambition, and artistic modernism,
in an attempt to enrich our understanding of early experimental film
history.

Sound-shape associations, a subset of cross-modal associations between the auditory and visual domain, have been studied mainly in the context of matching a set of purposefully crafted shapes to sounds. Recent studies have explored how humans represent sound through free-form sketching and how a graphical sketch input could be used for sound production. In this paper, the potential of communicating sound characteristics through these free-form sketches is investigated in a gamified study that was conducted with eighty-two participants at two online exhibition events. The results show that participants managed to recognise sounds at a higher rate than the random baseline would suggest, however it appeared difficult to visually encode nuanced timbral differences.

Critical Point is written for solo cello and interactive computer music system with two to four channel sound system and computer animation. The cellist plays from a score, and the computer records and transforms the cello sounds in various ways. Graphics and video are also projected. The computer-generated graphics are affected by audio from the live cellist. Critical Point is written in memory of the artist Rob Fisher.

Cinema, drawing love. The embodiment of complex and conscious thoughts. Its definitions are numerous and related to thoughts in line with mystical and intuitive experiences. The seventh art is accustomed to the minds of audiences who are fascinated by emotional and sometimes logical tendencies. A talent that is considered one of the most popular and popular arts in the world today. But what happens when the director or writer depicts a combination of norm-breaking abstractions of real communities in his film in a way that engages the audience's mind with derivatives that in every sequence of the film can be called a high quality of public belief? Yes. It was a modern approach in the field of theory, critique and production that went back to France and made a pact with the denial of dramatic psychology and the repeated use of shocking conceptual images ...

"Vertiges de l'Image" is a project on audiovisual computer experimentation, gathering music improvised by Phonogénistes with the images generated live by António de Sousa Dias. The project started in 2010 and its last performance took place in 2013. During three years several experiments were made and this text represents a first personal attempt to given an account of the different phases of the project, presenting and discussing the artistic decisions made and carried out in order to achieve a set of audiovisual improvisation proposals coherent but always willing to preserve performance freedom.

Analise historica da criacao do som gravado, do cinema com som sincronizado, do desenvolvimento da linguagem cinematografica sonora, dos elementos formadores do som cinematografico, e de suas especificidades no mundo da animacao, seguida de analises das obras dos animadores Oskar Fischinger, Len Lye e Norman McLaren.

In the perception of an audiovisual scenario and context our ears are informed by our eyes, just as our eyes can be redirected by our ears. Perception becomes the grounds on which film artists manipulate sonic/visual relationships to create meaning beyond the surface of the narrative. As tools and techniques of electroacoustic sound become more available, timbre plays an increasing role across all segments of our sonic culture-especially in film. As a result, the irresistible synchretic weld between sound and image (Chion) has reached a sophistication exploited by a growing number of filmmakers. Diegetic attack/release transients initiate morphological development into an ever-increasing abstraction of sonic material. Diegetic sound is abstracted into non-diegetic usage and vise-versa: the line between diagetic/non-diegetic disintegrates. Abstract diegesis and abstracted non-diegesis bound a continuum on which sound opens up deeper potentialities in the expression of film. The resultant perceptual vacuum, filled by a this growing language of electroacoustics in film will be discussed with examples from the film repertoire.

When we use the word " synesthesia " , we mean people with the clinical condition of homonymous name, a percentage of the human population for which the binding of different senses to a single stimulus of a specialized nature is a physiological phenomenon , automatic and involuntary. On the other hand, it is possible to find a-priori that the creation of interdisciplinary art, or that involves the binding of different senses is usually accompanied by devices or technological support which enable the creation of a new language or artistic expression. This leads us to conjecture a union of intermedial art forms by creating technology-related devices, to ask whether it is possible to establish a historical link.

We introduce the use of weighted medial graph structures to represent sounds and musical events. Such structures permit the building of hierarchical neighborhood relationships (symmetries) while mapping time to a weight (of a note, or event). This is useful to relate perceptual organisations (groupings in the sense of Gestalt theory) both visually and aurally. We treat time in a cinematographic way, effectively using a spacetime representation. The use of colour, modulation (of waveforms), orientation, speed, etc., allows us to integrate multiple musical features in our dynamic diagrams. We provide illustrations, including animations, of our ideas.

The aim of this article is to compare Stiegler's analyses of television with the internet. The problem, in my view, arises from the fact that the internet desynchronizes consciousnesses that television, according to Stiegler, had synchronized, while also producing the same effects of uniformity, and even increasing the production of "available brain time." The idea of P. Le Lay, that the aim of television is to "produce available brain time", the importance of which Stiegler emphasizes, holds true for the internet just as it does for television. The question that forms the core of an analysis of the internet inspired by Stiegler is to understand how, in the desynchronization of consciousness, the production of available brain time occurs. This is what I will call the "zombie work" that remains irreducibly human at the moment when general automation is established.

This article arises from a case study of the bachelor's degree in Audiovisual and Multimedia at the Polytechnic Institute of Beja (IPBeja) carried out in 2024. The study revealed that colour theory is one of the most influential theories related to audiovisual and multimedia, but there is a perception that colour is strictly linked to the image. This result led to the need for a structured and well-founded connection between colour and sound, producing information that can address the identified perception. Therefore, this article aims to conduct a literature review on the theoretical principles of the relationship between colour and sound and relate it as one of the fundamental principles for a degree in audiovisual and multimedia. For this purpose, a review was carried out on the concept of audiovisual and multimedia, the literature on the mentioned fundamentals, and different ways of relating colour to sound and music. In summary, this research will allow a better understanding of the theory of colour concerning sound in the various curricular units of the bachelor's degree in Audiovisual and Multimedia at IPBeja, and it can also serve other related research or similar courses.

Tacita Dean’s art relies on the perception of liminalities, of moving in-between, of one medium unfolding into another through dispersed, “molecular” sensations, either subverting or augmenting impressions of art forms perceived on the level of larger, structural wholes. Arguing against the wide-angle perspective employed by media studies approaches and for a close-up analysis of an “affective intermediality” in Tacita Dean’s art, the author looks at the landmark exhibitions at the National Gallery, the National Portrait Gallery, and the Royal Academy in London organised in 2018. The article singles out some of the individual works in the context of the exhibition as a work of art, and focuses on questions like the cross-media phenomenon of the “cinematic”, the affective performativity of the various dispositifs employed in her installations of celluloid films, the affordances of Dean’s signature aperture-gate masking technique, as well as the relation between narrative cinema experienced in a theatrical space and film as the medium of a visual artist. The essay concludes with a brief analysis of her gallery film, Antigone (2018), unravelling an allegorical journey through cosmic time and atmospheric landscapes, viewed as an ode to the “blind vision” of photochemical film and as a synthesis of key features of her intermediality conceived as a strategy for the re-sensitization of mediums by approaching one art from the point of view of another.

This thesis consists of a unified portfolio of eight compositions focused on and exploring alternative versions of the 3rd channel, which is a personal approach to composition and a way to describe my compositional technique. The instrumentation employs a variety of forces, and it is mainly for solo instruments and small/chamber ensembles – always with the accompaniment of a tape part – plus a summative, large-scale installation for eight speakers. The presented works were composed between December 2009 and August 2013. The commentary presents an individual, in-depth analysis of the eight pieces in order to reveal the methodology of their compositional process(es).

This thesis consists of a unified portfolio of eight compositions focused on and exploring alternative versions of the 3rd channel, which is a personal approach to composition and a way to describe my compositional technique. The instrumentation employs a variety of forces, and it is mainly for solo instruments and small/chamber ensembles – always with the accompaniment of a tape part – plus a summative, large-scale installation for eight speakers. The presented works were composed between December 2009 and August 2013. The commentary presents an individual, in-depth analysis of the eight pieces in order to reveal the methodology of their compositional process(es).

The Electric Slide Organistrum (Figure 1) is an acoustic stringed instrument played through a video capture system. The vibration of the instrument string is generated electro-magnetically and the pitch variation is achieved by movements carried out by the player in front of a video camera. This instrument results from integrating an ancient technique for the production of sounds as it is the vibration of a string on a soundbox and actual human-computer interaction technology such as motion detection.

The art of calligraphy, like other achievements of human thought, has gone through different eras and has reached its current stage after passing long centuries. In the beginning, the origin of the script was pictorial and sketchy, and each image is considered a representative of an idea or an event. Then came the code stage where each letter represented a word and a picture and a meaning.
Calligraphy is one of the most important and influential traditional arts in the Islamic era as mystics. The traditional arts of each society are rooted in the theology that governs that society. The 7th to 9th centuries has a very special place in the history of calligraphy, the peak of the development of set items as well as the theoretical foundations and aesthetics of calligraphy such as Nastaliq are also in these centuries.
In her encyclopedia, Blair has examined the Nastaliq script a lot and has addressed each and every expert in the fields of Nastaliq and broken or Shekasteh Nastaliq and the lithographic books that played a role in the spread of the Nastaliq script.
The foundation of Nastaliq calligraphy is on the knowledge, and Islamic vision of the artist, a vision that reaches the concentration of the mind and makes the artist enjoy being alone and the balance of personality allows him to grow balanced and lead to mysticism. This is because masters of Nastaliq calligraphy in the past were mystics, poets and Quran memorizers and this balance brings the Nastaliq calligraphy to moderation
The question of article is how aesthetics between Nastaliq calligraphy and mystics are defined?

This paper explores the hypothesis that the subconscious mind functions as a quantum computer, integrating insights from quantum mechanics, neuroscience, and psychology. By examining the role of the pineal gland as a facilitator of heightened consciousness, we propose that understanding the mechanics of this "quantum computer" is essential for harnessing its capabilities for personal and collective benefit. We introduce the author’s concept of Frequent Intense Focused Intention (FIFI) as a method for programming this subconscious computer, emphasizing its operation predominantly in lower theta frequencies. This insight underscores the importance of meditation and technologies designed to enhance meditative states, which hold significant potential for optimizing subconscious programming.
The author further investigates the interconnectedness of consciousness, drawing on Ivaldi's insights into intuition as a universal language and Haramein’s theories on the connected universe. We discuss how quantum mechanics, particularly principles such as superposition and entanglement, can inform our understanding of cognitive processes and non-linear information access. Additionally, we examine the role of the Reticular Activating System (RAS) in directing attention toward our programmed intentions, facilitating the manifestation of our desires. Ultimately, this research highlights the profound implications of tapping into the subconscious quantum computer, suggesting pathways for personal growth and advancements in understanding consciousness.

Transcribed text of the original print of ARC Press:

Byron, M. (1976). Pieces: A Second Anthology / ed. by Michael Byron. Vancouver; A.R.C. Publications.

Article:

Grayson, J. (1971). Avenues to Higher Levels of Psychic Communication and Neurological Referencing: An Outline of Recent Developments in the Fine Arts. In Pieces, A Second Anthology, ed. M. Byron, 1976 (pp. 122-127). Vancouver, Canada: A.R.C. Publications.


Transcripted version with minor corrections by Anastasia Chernysheva (12-16-2024)

This practice-based thesis explores the application of electroacoustic music composition techniques and tools in the context of entertainment science fiction film. After an initial exploration of existing theories in the fields of electroacoustic music and film sound, a practical theory to evaluate and classify suitable sound sources is proposed to enable to composer to derive an amalgamation of the otherwise two distinct components sound and music. An approach from the perspective of sound-based music theories will be the starting point for this type of soundtrack. Based on Simon Emmerson's analytical tool, the language grid a practical application of sounds which are traditionally not considered musical is facilitated. Eventually-and at the minimum-this musical language is meant to supplement if not replace the traditional orchestral sound world. Additional findings of the study include insights in the creation and usability of new instruments, tools to quickly apply and generate textures and gestures. During the research it has furthermore been concluded that while spatial mixing can be of major importance for sound-based music in the context of film, its successful application is stymied by a lack of flexibility (i.e. technological tools) to quickly render up-or downmixes for various settings. Additionally, the limited availability of suitable tools seems to prevent a wider application because of a lack of consistency in the implementation and use of audio standards in cinemas. Currently, a consistent audio experience regardless of the viewer's positioning in the cinema space can unfortunately not be guaranteed. The accompanying demonstration portfolio pieces are segments of scores for the science fiction films Star Trek First Contact, Dawn of the Planet of the Apes and Gravity. Each segment provides a practical exploration of the proposed theory to demonstrate the practicality of electro-acoustic music concepts and composition tools.

Revive is an live audio-visual performance project that brings together a musical artificial intelligence architecture, human electronic musicians, and audio-reactive visual agents in a complex multimedia environment of a dome view with multichannel 3D audio. The context of the project is live audio-visual performance of experimental electronic music through structured improvisation. Revive applies structured improvisation using cues and automatized parameter changes within these cues. Performers have different roles within the musical structures initiated by the cues. These roles change as the performance temporally evolves. Sonic actions of performers are further emphasized by audio-reactive visual agents. The behaviours and contents of sonic and visual agents change as the perfor-

The theoretical framework of this research delves into the complex and multifaceted relationship between music and painting, particularly in the context of synesthetic experiences. The confluence of music and painting has given rise to thought-provoking theories and discussions about the
interconnectedness of these two artistic realms. This article aims to provide a conceptual framework for understanding paintings of music. The article addresses the commonalities and differences in the creative techniques and visual interpretations of Wassily Kandinsky and Sushil Mishra's portrayal of Western and Indian Classical music. Through the comparative analysis of Kandinsky and Mishra's approaches to depicting music in their art, it becomes evident that the intersection between music and painting can lead
to a diverse spectrum of emotional and sensory experiences, engaging the readers in a profound connection to the art forms. The study suggests that these experiences are both for the creators and the audience, making the research more relatable.

This thesis was born from the confluence of many factors. In 2003 I was accepted as a postgraduate student at the University of Helsinki, Finland, where I began my doctoral studies. My sudden move to the North was motivated by two facts: firstly, the direction of the Department of Musicology, that encouraged working allowing discussions concerning philosophical issues jointly with traditional musicological studies. Secondly, I was interested in the activities of the Department of Philosophy, specially their tradition in Analytical Philosophy. I studied Philosophy from 1996 to 2001 at the Universidad Nacional del Sur (UNS) of Bahía Blanca, Argentina. During that period, I was particularly interested in metaphysical issues, specifically the topics of space and time, and also in rational approaches to aesthetics. As a musician, and parallel to this academic education, I was a student of classical guitar at the Conservatory of Bahía Blanca. A way of combining my apparent 'double life' was to write a doctoral work about music and time or how music can be analyzed as an organism logically designed in time. I am profoundly grateful to all those who helped me to make this real, in one or another sense: affective, moral, intellectual, and economical. Thanks to Dr. Cynthia Grund and Dr. Rubén López Cano, for your suggestions that so much enriched the whole message I wanted to convey in this work. Both of you are models of dedication and thorough scientific work. Thanks to Dr. Eero Tarasti, Director of the Department of Musicology, for his acceptance as a doctoral student in the department, for his creation of an international team of researchers, for fomenting new ideas and openness in discussion, and for his close support especially during the first stages of my doctoral studies and now at the end of the process. Thanks to Dr. Alfonso Padilla, Docent at the Department of Musicology, who decisively intervened for my attendance at the University of Helsinki and took care of the integrity of my status in Finland, becoming a tutor from the very basic details up to those specific of scientific research. I am indebted for his constant guidance and advice, supervision through attentive reading and compromise with research. To Dr. Gabriel Sandu, Professor at the Department of Philosophy, I express my gratitude for encouraging me to reach the limits of knowledge everytime, for his respect towards scientific work, his careful critical position and guidance during all the central process of studies. Thanks to the first English reviser Professor Hernán Mouro, old friend and colleague in Argentina who deciphered and corrected my 'Span-glish'. Thanks to the second reviser Anthony Shaw from Finland, who did essential work so my thesis could be presented in a correct language. Thanks to the whole Department of Musicology. Thanks to Irma Vierimaa, our permanent study secretary, for your beloved patience and peaceful energies. Thanks to Paul Forsell, working on the important task of editing our research results, always diligent and friendly. Thanks Jaakko Tuohiniemi, for your effectiveness in such important task as librarian, always ready to respond. Thanks to Erja Hannula, when she was temporary our study secretary, and for the nice moments we shared in Vironkatu 1, 2b. Thanks to my friend and colleague Riitta Rainio: I would know much less about Finland and the Finnish without your company. I will never forget our deep discussions on scientific work, and all kinds of exchanges from which I learned from you how to face life in the North and in any place of the world. Thanks to those degree students who came and took part of the study circle I guided and left questions for me to solve. Finally, thanks specially to the Latin American Seminar for Musicological Studies (LASM), a fraternal meeting whose preoccupation was the common advance of our studies and, with it, the advance of musicological studies in our own fields.

This thesis was born from the confluence of many factors. In 2003 I was accepted as a postgraduate student at the University of Helsinki, Finland, where I began my doctoral studies. My sudden move to the North was motivated by two facts: firstly, the direction of the Department of Musicology, that encouraged working allowing discussions concerning philosophical issues jointly with traditional musicological studies. Secondly, I was interested in the activities of the Department of Philosophy, specially their tradition in Analytical Philosophy. I studied Philosophy from 1996 to 2001 at the Universidad Nacional del Sur (UNS) of Bahía Blanca, Argentina. During that period, I was particularly interested in metaphysical issues, specifically the topics of space and time, and also in rational approaches to aesthetics. As a musician, and parallel to this academic education, I was a student of classical guitar at the Conservatory of Bahía Blanca. A way of combining my apparent 'double life' was to write a doctoral work about music and time or how music can be analyzed as an organism logically designed in time. I am profoundly grateful to all those who helped me to make this real, in one or another sense: affective, moral, intellectual, and economical. Thanks to Dr. Cynthia Grund and Dr. Rubén López Cano, for your suggestions that so much enriched the whole message I wanted to convey in this work. Both of you are models of dedication and thorough scientific work. Thanks to Dr. Eero Tarasti, Director of the Department of Musicology, for his acceptance as a doctoral student in the department, for his creation of an international team of researchers, for fomenting new ideas and openness in discussion, and for his close support especially during the first stages of my doctoral studies and now at the end of the process. Thanks to Dr. Alfonso Padilla, Docent at the Department of Musicology, who decisively intervened for my attendance at the University of Helsinki and took care of the integrity of my status in Finland, becoming a tutor from the very basic details up to those specific of scientific research. I am indebted for his constant guidance and advice, supervision through attentive reading and compromise with research. To Dr. Gabriel Sandu, Professor at the Department of Philosophy, I express my gratitude for encouraging me to reach the limits of knowledge everytime, for his respect towards scientific work, his careful critical position and guidance during all the central process of studies. Thanks to the first English reviser Professor Hernán Mouro, old friend and colleague in Argentina who deciphered and corrected my 'Span-glish'. Thanks to the second reviser Anthony Shaw from Finland, who did essential work so my thesis could be presented in a correct language. Thanks to the whole Department of Musicology. Thanks to Irma Vierimaa, our permanent study secretary, for your beloved patience and peaceful energies. Thanks to Paul Forsell, working on the important task of editing our research results, always diligent and friendly. Thanks Jaakko Tuohiniemi, for your effectiveness in such important task as librarian, always ready to respond. Thanks to Erja Hannula, when she was temporary our study secretary, and for the nice moments we shared in Vironkatu 1, 2b. Thanks to my friend and colleague Riitta Rainio: I would know much less about Finland and the Finnish without your company. I will never forget our deep discussions on scientific work, and all kinds of exchanges from which I learned from you how to face life in the North and in any place of the world. Thanks to those degree students who came and took part of the study circle I guided and left questions for me to solve. Finally, thanks specially to the Latin American Seminar for Musicological Studies (LASM), a fraternal meeting whose preoccupation was the common advance of our studies and, with it, the advance of musicological studies in our own fields.

O que se constrói nesse saber viver juntos? Este foi o tema que norteou o encontro de pesquisadores ibero-americano durante o XI POÉTICAS, ES 2022. O seminário reuniu artistas, professores e pesquisadores em torno do debate sobre o que pode se construir nesse momento póspandemia, no qual estamos acelerados pelas tecnologias da informação que nos projetou em um mundo que era fantasia até alguns anos: webencontros síncronos que encurtam os espaços e que são capazes de tornar o tempo simultâneo. Nunca o aqui e agora foi tão explícito. Mas, o que fazer nesse novo modo de viver juntos ainda não nos é claro. E complica mais ainda, se pensamos nos modos como essa ideia de simultaneidade afeta o nosso cotidiano e o processo criativo.
Esse tema norteou as palestras e comunicações desse evento, além de conduzir os participantes a refletirem sobre as interações possíveis do processo de criação individual e/ou coletivo realizados nos ecossistemas urbanos, cuja existência em si sempre foi simultânea, mas sua percepção era mediada por uma distância geográfica que afetava o tempo com o qual a percebíamos. Agora, de maneira sem igual, os modos de existir do ciberespaço nos colocam frente a frente, num tempo síncrono que altera nossa ideia tradicional de tempo e espaço.
Viver simultaneamente exige um ouro modo de saber viver juntos, demarca fazeres e saberes que constituem territórios estéticos, simbólicos ou físicos que fazem parte do cotidiano pessoal (do artista ou do coletivo de artistas), assim como do contexto social e cultural, porém, agora, em escala global e síncrona.
A diversidade das manifestações desses pesquisadores revela um conjunto de novas simultaneidades que constroem essas outras possibilidades de viver juntos, não mais limitados pela ideia de presente ou ausente, de perto ou de distante. Os novos tempos agora permitem a sincronicidade, modo de existir e interagir sem o limite da espacialidade na qual o presente físico ou remoto existia; ambos agora coexistem e se falam, se tocam, se sentem, como se o existir apenas exigisse a própria existência.
Esse novo modo de habitar o cotidiano vivido exige um enfoque que considere tanto em aspectos éticos e estéticos dos conceitos de propriedade privada (que demarca nossa ideia de autoria) e dos modos de fazer das práticas artísticas em tempos determinam falência da ideia de verdade e do emergente revisionismo histórico necessário e imposto pela era do ciberespaço – não sabemos se isto decorre da crise pandêmica, ou se simplesmente foi isto o fenômeno catalisador de uma crise sanitária que mudou os nossos modos de estar juntos, desde os anos de 2020. O mundo nunca esteve tão interligado física e ciberneticamente. As velocidades mudaram para o circular dos corpos. Os vírus, nano corpos, circulam também nessa onda. Tempos para refletir.
Vitória, ES, Dezembro de 2022

'Perhaps this scheme will enable us to hear more often from each other' is the major of four audiovisual compositions of an interdisciplinary practice-based PhD research portfolio. The research – Visual Music Strategies and the Sense of Place – explores concepts and creative methods by relating strategies of visual music to the notion of a sense of place within a broader inquiry regarding place representation by spatial, visual and sonic means. Conceived and realised as a large-scale audiovisual installation, Perhaps this scheme demonstrates varying research angles regarding space, time, place, situation and being issues. It also suggests a new way to tell stories of places by fusion of a documentary journey narrative with music-oriented compositional approaches embedded within an installation setup.

The work contributes to existing practical and theoretical knowledge relevant to the disciplines it encompasses. From the sense of place angle, it demonstrates diverse possibilities of employing visual music considerations in audiovisual representations of places. From the visual music perspective, in its explicit documentary and referential approach, the work challenges traditional conceptions of visual music as an abstract, nonrepresentational art form, thus adding to its discourse and palette of practical application.

Studying the correlation between auditory perception and, emerging during this perception, colour
associations opens the possibility of finding audio – visual relationships and connections, which can be
used for audio visualisation in various areas of art and new media.

Esta pesquisa propõe investigar o trabalho de curadores e programadores de filmes brasileiros. O surgimento de especialistas em curadoria e programação de cinema no Brasil coincide com o nascimento e desenvolvimento de festivais de cinema, filmes e políticas públicas para o setor. Uma análise comparativa a partir dos gestos curatoriais propositivos de uma curadora, observando as possibilidades de refletir, pensar e projetar um país através das diferentes visões do cinema brasileiro.

Os documentos audiovisuais trazem para a Ciência da Informação brasileira inúmeros desafi os referentes a identifi cação de seu assunto principal, e torna mais complexo o momento de elaboração de resumo e identifi cação de palavras-chave para sua respectiva
catalogação. Norteado por tais problemáticas, este livro encontra na animação seu objeto de estudo e apresenta discussões teóricas e casos práticos sobre os métodos utilizados no tratamento temático da animação. Os casos analisados correspondem às seguintes instituições: Museu de Cinema de Animação Lula Gonzaga (MUCA), Museu de animação de Belo Horizonte (MUABH), Produtora Anaya e
Cinemateca Brasileira.
Espera-se que esta obra possa contribuir para o processo de análise e descrição de documentos audiovisuais no contexto de unidades de informação, bem como despertar o interesse pelos documentos audiovisuais que também necessitam do olhar da Ciência da Informação.

A quick glance at various art exhibition halls in Nigeria reveal lots of sculptural pieces, paintings, textiles and drawings dominating the scene, with a very few prints, cartoons, videos and photographs, hanging here and there in exhibition venues. While a few practicing graphic artists display photographs and digitally manipulated images in exhibition halls, many have little or no clue of what to display in art exhibition halls, unlike painters and Sculptors who are always ready to display finished work in any media. Again, graphic artists mainly produce functional and industrial art and as a result, do not deem them fit to be exhibited. Thus this study shall highlight what visual communication design is, areas of specialization, and academic curriculum for the subject matter, thereby establishing what a practicing visual communication artists should display in both solo and group art exhibitions in Nigeria. The research method was literature review and discussions using samples o...

During the past four hundred years the Newtonian and Goethean schools collected many experimental observations on the formation of colors. The situation became more complicated after the experiments of Land who documented that the classical color theory (= colors correspond to exact wavelength of light) is valid completely in the dark surroundings only. We are at the crossroads to find the boundary between the physical properties of colors and the perception of those photons in the retina and the brain. Therefore, the more general physical color theory should interpret those color effects where the classical physical color theory fails. As a potential candidate we present the overlooked Descartes´ color theory based on the rotation energy of visible, ultraviolet, and infrared photons. The rotation energy of colors was defined as E = hν570*(λx/λ570) where index describes the wavelength of photons in nanometers. This new mathematical description of colors enables to newly interpret si...

SANTOS, Robert Simão dos. Study of the influence of affordances for learning of resonance in material media by means of Chladni standards. 2018. Total number of sheets. Dissertation (Masters in Teaching Human, Social and Nature Sciences)-Federal Technological University of Paraná. Londrina, 2018 With the advances of technology and for the most part, once thinking about products without proper design, it has brought new challenges for the teacher in teaching and what to offer attractive to students. The challenge of technology that has turned the market, does not give the agent time to understand and know how to use it or even exploit all its potentialities. Rescuing laboratory practice in schools infer in some details, which starts from the lack of continuing education for the teacher, and laboratories with the minimum that the teacher needs to elaborate their experimental scripts. The present research brings in its scope a study of the perception-action, proposed by the Psychologist J. J Gibson (1986), that proposes that the learning of the agent is given by the perception of the affordances. In order to better understand how it can influence perceptual learning, a group of 5th grade students from a peripheral college in the city of Londrina-PR, who had no contact with a physics laboratory, were analyzed to manipulate acoustics equipment. They were divided into four groups, and the control group (CG) had all the support of the researcher to manipulate the equipment as well as the execution of the experiment. And the experimental group (GE) that had no instruction from the researcher on how to use the equipment in the experimental activity, leaving them only an illustrative and vague image of the operation of each equipment. In summary, Gibson (1979/1986) proposes that there are two aspects of information that necessarily compose it simultaneously-"information-about", called invariants, and "information-for", called affordances. (OLIVEIRA; RODRIGUES, 2014, p.11). With the aim of answering how affordances may influence learning, this work sought to elaborate a technical manual of the construction and application of plate resonance experiments, EF F Chladni physical German discovery known as "father" of acoustics by innovative discoveries in the field of acoustics in the late seventeenth and early eighteenth centuries. For the accomplishment of the study we used the research methods, phenomenological bibliographical because it deals with the perception and action of the research subject. According to the nature of the problem the data are analyzed qualitatively..

El presente artículo tiene como objetivo realizar una reflexión sobre la importancia de la experiencia de usuario en las obras de arte basadas en fotografía socio-documental, referido en concreto al proyecto artístico GENOCIDE PROJECT. Se trata de verificar cómo el factor memoria del usuario es importante a la hora de exponer la obra al público. La experiencia del espectador-usuario se fundamenta en tres elementos: arte, usuario y contexto. La configuración de estos elementos define las dos experiencias relatadas, en las que el espectador-usuario se convierte en el componente decisivo en el diseño y elaboración del modelo expositivo.This article aims to reflect on the importance of user experience in artistic works based on socio-documentary photography, specifically referring to the artistic project GENOCIDE PROJECT. It is about verifying how the user's memory factor is important when exposing the work to the public. The experience of the viewer-user is based on three elements:...

This article draws a perceptual approach to audiovisual mapping. Clearly perceivable cause and effect relationships can be problematic if one desires the audience to experience the music. Indeed perception would bias those sonic qualities that fit previous concepts of causation, subordinating other sonic qualities, which may form the relations between the sounds themselves. The question is, how can an audiovisual mapping produce a sense of causation, and simultaneously confound the actual cause-effect relationships. We call this a fungible audiovisual mapping. Our aim here is to glean its constitution and aspect. We will report a study, which draws upon methods from experimental psychology to inform audiovisual instrument design and composition. The participants are shown several audiovisual mapping prototypes, after which we pose quantitative and qualitative questions regarding their sense of causation, and their sense of understanding the cause-effect relationships. The study shows that a fungible mapping requires both synchronized and seemingly non-related components-sufficient complexity to be confusing. As the specific causeeffect concepts remain inconclusive, the sense of causation embraces the whole.

The purpose of this research is to explore the idea of relating storytelling with acousmatic music in the creation of a hybrid vehicle for transmitting stories, to develop a compositional methodology derived from the exploration of the synergy between storytelling techniques and acousmatic practice and to deliver works, which facilitate reinvention of the experience and memory for listeners. While particular attention is focused on acousmatic works, the research presented in this exegesis also explores the theory of storytelling in more general terms, with evaluation of its potential to inform the development of acousmatic works. This thesis is inspired by the work of specialists of storytelling theory (e.g. Todorov, Le Poidevin and Davidson) and their views on the elements of storytelling, and continues to investigate storytelling elements in the repertoire of acousmatic music and the use of the voice as a means of imparting a story with composers such as L. Ferrari, H. Westerkamp, D. Derbyshire, C. Calon and J. Young providing especially pertinent examples. The hypothesis and theoretical analysis were practically tested and implemented in the five acousmatic works created for this particular project. This research reveals the potential for acousmatic creativity to reach new audiences (in terms of age, culture, nationality) by blending culture-specific storytelling with acousmatic practice, proposing in that way a renewal of the musical vernacular of acousmatic music. By integrating archival recordings, interviews, transformed sounds, and referential sounds, the microphone and recorded medium became a time machine, 'thought capturer' and a conduit for conveying cultural information. All these elements combined with the sonic world composed in the studio are creating a hybrid form of acousmatic work, a subgenre which I define as acousmatic storytelling. The notion of musicality, the definition of acousmatic storytelling as well as concepts and, terms and definitions of acousmatic music are presented in Chapter 1. The ! 3! portfolio was created having as a conceptual basis elements and techniques of storytelling and story construction which are presented in Chapter 2, together with an examination of works identifying ways in which acousmatic composers have used storytelling within their own work. In Chapter 3 the creative approach applied in the works of this portfolio is presented, both as concepts and methodology. This research is useful for all those working with recorded sound because it offers an approach to sonic creativity based on storytelling techniques, and provides a universal perspective of the composer who can now be seen as historian, journalist, author as well as musician. It also provides the means to engage a broader audience with the practice of acousmatic music. This thesis is dedicated to the memory of my father for 23 years of discoveries.