Index
#wreckOfHope (Leyokki): dealing with motion 297–301; motion and narration 309–313; motion score for 295–314; as starting point 295–296; writing motions 301–306
“(Re)Diffusion” (Galea) 88–89, 89
1Hz by 0101 (Rüdiger and Carl) 73, 76, 79, 167–169
‘3 Recurring’ (Plaid) 352
3TrinsRGB+1 video synthesiser 194
18 Happenings in 6 parts (Kaprow) 332
AANAATT (Hattler) 201
Abe, Shuya 196
Abstronic 197
‘acousmatic’ 127
action space 56
Adamski, Przemek 201
adhesion 123
Adventures of Robin Hood, The (Curtiz) 156
Adventures of Tintin, The (Spielberg) 157
Aerosmith 190
agglutination principles 16
Ahn, Chang Wook 265
Alexandrov, Grigori 122
algorithmic aleatoricism 287–288, 292
A-li-ce 169–171
All Things Fall (Collishaw) 202
Alocas (Harris) 284, 285–288, 291–292
Alphabet (Forsythe and Kaiser) 338
Amacher, Maryanne 290
Amarok (Oldfield) 353
Anadol, Refik 358
anchoring synchresis (instantaneous AVU) 20
ancient Greek Pythagoreans 32
ant-colony-inspired generative art 265
anticipatable movement 75–76
Apophenic Transmission (Pedersen/Chailight Productions) 112–16, 112, 113, 114, 115, 118
Arabesque (Whitney) 125
Arcimboldo 319
Arduino 194
Arduino (‘physical computing’ platform) 194, 321, 327
Are We Doing Right? (Embolex) 165–167
Aristotle 121
Arnheim, Rudolf 128
ars-relais 249–250
art documentaire, Un (Caillet and Pouillaude) 163
Artist, The (Hazanavicius) 154
Atonal festival 199
Audiopaint 351
audiovisual adhesion 120, 129–130
Audiovisual Breakthrough (Mey) 283
audiovisual contract 18
audiovisual documentary performances: concept of 161, 174–175; examples 165–171; as practice 163–165; sensory experience 171–174
audiovisual Gestalts (AV). 78–79
audiovisual instruments: biofeedback methods 316–318; concept of 318–320; human body as 320–329; Mindscape (Robles-Angel) 319; overview of 316–318; Skin (Robles-Angel) 322–325, 324; Web-Mindscape (Robles-Angel) 319, 325–328, 326
audiovisualisation 272–273
audiovisual objects 16–17
audiovisual phrasing 50
audiovisual space: concept of 49; space-time 51–53; temporal frameworks 49–51
audiovisual units (AVUs): concept of 17–18; diegesis 23–25; synchresis 19–21
‘Augmented Tonoscope The’ (Sykes and Lycett) 33
Auroculis (Harris) 283
A U R O R A (Frost) 199
Avant-Doc 161
Avraamov, Arseny 124
Bachelard, Gaston 235–236
Bach, Johann Sebastian 43, 125
‘Backscatter’ (Fox) 197
Bacon, Francis 354
Ballet Mécanique (Léger and Murphy) 377
Bal, Mieke 95
Barbash, Ilisha 172
Barlow, Clarence 349
Barrière, Françoise 2
Barthes, Roland 171
Basanta, Adam 15
Baschet, Bernard 87
Baschet, Francois 87
Basinsky, William 192
Basquiat, Jean-Michel 177
Bauder, Christopher 201
Bayles, Martha 183
BBC Radiophonic Workshop 190–191
Becker, Kristi 349
behavioural synchresis (short or medium AVU) 21
being invisible II, On (Rosenboom) 316
Benedek, Laszlo 179
Bennett, Vicki 190
Berger, Jonathan 360
Berlin Documentary Forum 163
Berlin Horse (Le Grice) 123, 128
Berlin (Ruttmann) 371
Berlioz, Hector 348
Bernstein, Leonard 147
Bers, Jonas 193–194
Bertoia, Harry 88
Best Years of Our Lives (Wyler) 150
Biber, Heinrich Ignaz Franz 75
biofeedback methods 316–318
biological metaphors 265
Biomuse (interface) 317
Bird, Steve 11
Birringer, Johannes 332
Björk 215–216
Blank Generation, The (Poe) 178–179
Blaue Reiter (art movement) 38
“Blue Moon” (Presley) 183, 184
“Blues in C Sharp” (Jones) 88
Blum, Tom 317
‘body schema’ 139
Bokowiec, Mark Alexander 331
Borgo, David 101
Boris Godunov (Mussorgsky) 348
Bornhofen, Stefan 265
Boucher, Myriam 45
Boundas, Constantin 51
Boyle, Francois 250
Braaahm sound 157
Brain Computer Interfaces (BCI) 317–318, 322, 325–328
Brakhage, Maryline 237
Brakhage, Stan 141–142, 237, 321
Bristol Experimental Expanded Film (BEEF) 203
brownshoesonly 195
Bücher, Karl 67
Burial 191
Burke, Edmund 134
Burnett, Chester Arthur “Howlin’ Wolf” 184
Burnham, Jack 96
Bute, Mary Ellen 197
Buzsáki, György 321
Cage, John 25, 86, 317, 331, 332
Cahiers du Cinéma (magazine) 234
Caivano, José Luis 360
“Canary Effect” 152–153
Capra, Fritjof 85
Carvalho, Ana 164
Cascone, Kim 189
Castaing-Taylor, Lucien 171–172
Castel, Louis-Bertrand 121–122, 319
Castells, Manuel 285
cathode ray tubes 195–197
Center for Computer Research in Music and Acoustics (CCRMA) 317
Centre for Contemporary Art (CCA) 288
Ceontea, Nick 195
César, Filipa 162
Chagall, Marc 348
CHA/V (Cheap Hacky A/V) project (Bers) 193–194
Chion, Michel 14–15, 18, 50, 66, 79, 122–123, 211, 283
Chladni, Ernest Florens Friedrich 32
Choi, Tae Jong 265
Chopin, Frédéric 182
chordophones 318
Choreutics (Ullmann) 341
Ciclic archives 169–170
cinema art 34
cinema concrète 249–250
Cinematic Virtual Reality (CVR): audible spaces in 211–213; definition of 206–207, 216–217; perception and immersivity in 208–209; space and reality in 210–211, 216–217; viewer attention 213–216
Circuit Bending 192
Clark, Andy 85
Clavecin pour les yeux (Ocular Harpsichord) 319
Clavilux 319
close-synch technique 145–146
Cloud Triptych (Cummings) 354, 354
Clozier, Christian 2
Coagula 351
Coffee and Cigarettes (Jarmusch) 181
Cohen, Annabel J. 15
Cohen, Nell Shaw 350
Cohen-Solal, Robert 250
Collishaw, Matt 202
Collopy, Fred 6
ColorControl 194
colour harpsichord 319
colour-light music projections 41–42
Colour Music 198
colour organs 4–5, 121–122, 319
colour-tone association 91–92
Composing for the Films (Adorno and Eisler) 150
composite cramming 192–194, 202
Compressed Feedback Synthesis (CFS) 271
Computer Music Journal (journal) 2
Computer Music Multidisciplinary Research (CMMR) 322
computer video 250
‘concrète’ 250
congruence association model (CAM) 15, 24, 68–69
congruency 72–73
congruent movement synchresis (medium or long AVU) 21
Connolly, James 196
connotative meaning 233–234
Conrad, Tony 201
consonance 6
convergences 5–6
Cooke, Mervyn 156
Cook, Nicholas 50, 365, 368, 378
Cope, Nick 45
Costello, Brigid 86
Coulter, John 14–15
Counterlines (intermedia setup) 360
counterpoint: applications of 46, 50, 53, 148, 152, 243, 250; audiovisual 377–378; concept of 62; in Estuaries series 263–264, 271–278; fluid 272–278; gestural 268, 272–273, 276–277; glossolalic speech and 120, 130; Lichtspiel Opus 1 368, 377–378; VCMN-assisted 273, 278
Cracked Ray Tube (Connolly and Evans) 196
Crimson Peak (Del Toro) 155
Critique of Judgement (Kant) 134
Cryptic 289
Cunningham, Chris 189
Cutting, James E. 56
‘Cymatics’ 32
Dance Instruments (Rüdiger) 70
Dance Instruments (Rüdiger and Marciszewski) 71
Dannemberg, Roger B. 8
Danto, Arthur C. 79
Daphnis and Chloe (Ravel) 348
datamatics [ver. 2.0] (Ikeda) 350
‘Dazzling and Blind ing’ (McDonnell) 241
Decasia (Morrison) 201
Deep Web (Bauder and Henke) 201
deepwhitesound (online exhibition platform) 283
defined direction of action 77
deLahunta, Scott 331
Delalande, François 237
Delaunay, Robert 243
Delaunay, Sonia 243
Delaware Road festival 191
delayed synchresis (short AVU) 20
Deleuze, Gilles 52, 86, 134–136, 234, 236, 329
deliberate direction of action 77
De Martinis, Paul 85
Demers, Joanna 285
Derrida, Jacques 192
Desailly, Jean 250
Detheux, Jean 43–44
Dewan, Edmon 316
Diagonal-Symphonie (Eggeling) 125
diegesis: concept of 14, 21–23, 50–51; descriptors 23–25; sound 245
Digital Alchemy (McDonnell): complex electric visual/emergence of intense forms on the visual surface 257; concrète to complex electric visual 256–257; discussion 254–260; emergence of form and the construction of a geometric figure 258; emergent forms 259; extended listening 255–256; final surface 259–2560; multi-dimensional surface 257–258; qualities of musical sound of interest 255; surface with multi-dimensional colour block areas 256; vertical lines offset from the centre 259; visual ideas from sounds sounding 255–256
digital failure 189
Digital Harmony (Whitney) 33
direct diegesis (medium or long AVU) 23
direct film technique films 44–45
directionality 14
Direct Sound/Synthetic Sound 202–203
direct synchresis (instantaneous AVU) 19
‘Discorama’ (television programme) 250
Disintegration Loops (Basinsky) 192
dissonance 6, 38, 40, 50, 62, 120, 130, 155–156, 215, 311, 369, 375
documenta 11 162
documentary practices: audiovisual documentary performances 165–171; between cinema and art context 162–163; live audiovisual performance as 163–165; sensory experience 171–174
Doepfer Musiklelektronik 194
Dooley, Kath 213
‘Downtown Dreaming’ (Earp) 357
“Downtown Scene, The” 177–178, 180, 186
“Dresden Dynamo” (Rhodes) 88
Duchamp, Marcel 128
Duel Tones (McDonnell) 254
Duff, Andrew 197
Dulac, Germaine 294
Dvorák, Antonín 295
‘Early Experiments in Hand Drawn Sound’ (Fischinger) 33
Earp, Jeffrey 357
“Easel – Scroll – Films” (Richter) 304
Eaton, Manfred 317
Ecology of the Skin (Rosenboom) 317
eContact (online journal) 284
écoute réduite (reduced listening) 127, 245–246, 361
egalitarian aesthetics 177–180
Eggeling, Viking 4, 31, 40–41, 42, 125, 304, 365, 366
Eidos (Forsythe) 333
ein sehen raus hören (Rüdiger) 74
Eisenstein, Sergei 49, 50, 62, 122–123, 125
Eisler, Hanns 150
Ekman, Rasmus 351
Elder, Bruce 142
‘Electrical Walks’ (Kubisch) 350
electroacoustic 127
‘Electroacoustic Cinema’ 11
electroacoustic music: abstract painting and 39; compositional model for 338; constructing visual music images with 240–260; definition of 3–4, 14; historical pieces of evidence: 2–3; listening process for 9, 254–255; main constituents of 16–17; materials within 58, 62, 232; sonic practices in 284; sonic textures in 46; sound units in 17; studio practices of 13; use of recognisable ‘real’ sounds in 10–11; visual music and 127–128
elektronische Musik 248–249
El Escudo Dos Spark Fun board 327
Elsässer, Thomas 167
embodiment 138–142
Embolex 165–167
Emergency Broadcast Network 190
Emmerson, Simon 338
EMOTIV Insight (interface) 325–327, 325
End Transmission (Hyde) 193, 193
energetic meaning 233–234
Eno, Brian 123
Enwezor, Okwui 162
Epstein, Jean 294
Estuaries series (Battey): discussion 268–70; Estuaries 1 127–128, 263, 269; Estuaries 2 127–128, 263; Estuaries 3 127–128, 129, 263, 264, 271–278, 274–275; fluid audiovisual counterpoint, 273–277; musical technique 270–271; Nelder-Mead method 127–128, 265–267; OptiNelder filter 264–268, 278; variable-coupled map net works (VCMN) approach 270–273, 277–278
étude aux allures (Schaeffer) 250
Eurorack system 195
Evans, Kyle 196
Excitations (Palmer) 318
Expanded Audiovisual Format (EAF): Alocas (Harris) 284, 285–288, 291–292; Auroculis (Harris) 283; case studies 285–292; definition of 281–282; expanded cinema and 283–284; ilsonilus: 1 (Harris) 282–283; pletten (Harris) 282–283; site-adaptive 285, 291–292; site-specific 285–288, 291–292; Visaurihelix (Harris) 284, 287–292
expanded cinema 53, 68, 164, 173, 283–284
expansive objects 71–72
expected synchresis (instantaneous AVU) 20
experimental cinema 4
Experimental Television Centre 195
“explicit synch-points” 145–146
extended listening 245–246, 253–256
extra-diegetic 22
Fantin-Latour, Henri 348
Fearful Symmetry (Glynn) 332
Fenderson, Jerobeam 197
Ferrari, Luc 250
FEZ (Vreeland/Disasterpeace) 352–253, 353
Fischinger, Oskar: creation of sound on optical track 124, 260; as early pioneer of experimental cinema 4, 203, 304; ‘Klingende Ornamente’ 33; modernistic formalist principles espoused by 132; Optical Poem 24; Raumlichtkunst 54; Studie 243–6, 319; Studie Nr. 1 243
Fisher, Mark 192
Five Film Exercises, The (Whitney and Whitney) 125, 319
Flicker, The (Conrad) 201
fluid audiovisual counterpoint, 273–277
form: basic formal elements 34–36; exploring music with visual formations 42–44; independent and autonomous means of expression 38–39; musical means of expression for 36–37; process of making facilitating emergence of 44–45; relation to means of expression 33–34; role of artistic decision-making processes on 39–40; universal language of 40–41; in visual music 30–46
‘formula’ (Aphex Twin) 351, 352
formula (Ikeda) 350
Foti, Katerina 335, 337, 339, 343–344
Fournel, Nicolas 351
Four Romantic Pieces (Dvorák) 295
Francoise, Jules 101
Frege, Gottlob 93
Friedrich, Caspar David 295
Frost, Ben 199
Fry, Roger 38–39
Führerstandsmitfahrt U44 in 360° // DSW21 (einundzwanzig) 209
Funk, Aaron (Venetian Snares) 351
Fusco, A. J. 358
“Fuzz is Your Friend, The” (Mattox) 88
‘Gala’ (van Tonder) 255
Galvanic Skin Interface (GSR) 317, 322–325
Gamblers, The (Morris) 172–174, 173
Gametrak controllers 333–335, 334, 337, 341, 343–344, 345
GCE/MB Games 197
Gernemann-Paulsen, Andreas 327
Gestalt theory 16, 17, 74, 128, 151
gestural counterpoint 268, 272–273, 276–277
gestural surrogacy 102–5
gestural synchresis (short AVU) 20, 21
gesture: affect and 116–118; as analytical framework for visual music 100–105; causality and 232; concept of 58, 62; as disposition of movement 58, 62; as metaphor 237; motivations 230; musical gesture 156, 227, 229, 230–233, 236, 269, 331, 370, 373–374, 376–378; OptiNelder technique 268, 273, 276–278; relationship between texture and 58, 62, 232–233, 276; sound/image relation and 14, 60–61, 231–232, 290; visual gesture 230, 237, 366–367, 369; visual music and 116–18
Ghost Box 190–191
Ghost Dog (Jarmusch) 180–181
ghost synchresis (short or medium AVU) 21
Gieskes, Gijs 194
Global Groove (Paik and Godfrey) 188
‘Glorious Midi Unicorn’ (Huang) 354
glossolalic speech: structure of glossolalia 129–130; visual music as form of 120–130
Glynn, Ruairi 332
Godfrey, John 188
Goldberg, Theo 249
Goodman, Steve 117
Gordon, Michael 201
Gorillaz 211
Gosvig, Christian 250
Grateful Dead, The 198
Grau, Oliver 92
Greenfield, Gary R 265
Green Light Corridor (Nauman) 332
Green, Sam 174
Grohmann, Will 37
Grossberg, Lawrence 51
Groupe de Recherches Musicales (GRM) 250
grouping 16
Guattari, Felix 52
Gubby, Alan 191
Hagener, Malte 167
Hains, Raymond 250
Hamlyn, Nicky 125
haptic experiences 54–56
haptic images 137
Hard World for Small Things (Transport by Wevr) 210
Harris, Debbie 179
Harvestworks Digital Media Art Center 322
Hatari! (Hawks) 146
Hatten, Robert S. 230
Hattler, Max 201
Hébert, Pierre 45
Henke, Robert 200–201
Henri, Michel 36
Henriques, Julian 116–117
Herrmann, Bernard 146, 147–148
heterophony 377–378
Hexstatic 190
Hill, Andrew 284
Hill, Gary 195
Hobbs, Jim 284
Hocking, Ralph 195
Holzer, Derek 197
Home Invasion (Hwang) 210–211
horizontal relations 74–76
Hornbostel, Erich M. von 318, 320
Howe, Tim 45
Huang, Andrew 354
Hughes, Lynn 317
Huhtamo, Erkki 85
human body 320–329
Human Bondage, Of (Cromwell) 153, 154
Hume, David 69
Hutt, Michael 266
Hwang, Alex T. 210–211
“if, then, if, then” process 338
Ikeda, Ryoji 350
ilsonilus: 1 (Harris) 282–283
image appropriation 360–361
imagination 233–238
“implicit synch-points” 145
Improvisation Technologies (Forsythe) 333
Inception (Nolan) 157
incongruent diegesis (medium or long AVU) 24–25
Informer, The (Ford) 154
Inland (Gillies) 213
INsideOUT (Robles-Angel) 322
intentionality 238–239
interactive dance: Locus (Jung) 332, 335–340, 336, 340, 344–345; Music Room, The (Jung) 332, 341–345, 342; overview of 331–332; physical restriction as choreographic method 332–335
interface 320
International Computer Music Conference (ICMC) 322
International Electroacoustic Music and Sonic Art Competition 2
International Laser Display Association (ILDA) 199–201
International Symposium on Electronic Art (ISEA) 325
intra-diegetic 22
Intruders (A-li-ce) 169–171, 170
IN TUNE (Teitelbaum) 316
Ireland, David 15
Iwamiya, Shin-ichiro 69
“jackass music” 151–152
Jack, Olivia 351
Jackson, Rickey 210
Jacobs, Ken 201
Jacobs, Lea 150
James, Richard D. (Aphex Twin) 351
Jarmusch, Jim: Coffee and Cigarettes 181; Ghost Dog 180–1; Mystery Train 182–186; Permanent Vacation 180, 184; Year of the Horse, The 180
Jaws (Spielberg) 158
Jeck, Philip 192
Jefferson Airplane 198
Jenny, Hans 32–33
Jensenius, Alexander Refsum 101
Jones, Dave 195
Jones, Jennie 88
Journal rappé (rapped news) 169
Judson Dance Theater 332
Jurassic Park (Spielberg) 157
Kabir Kouba (Boucher) 227, 228, 229, 229, 231–232, 231
Kamiya, Joe 316–317
Kandinsky, Wassily 30, 36, 38–40, 366
Kant, Immanuel 134
Kanu belong Keram (Rüdiger) 68
Kaprow, Allan 332
Kapuscinski, Jaroslaw 243, 350, 360
Kastner, Jeffrey 226
Keefer, Cindy 132
Kenny, Megan 105
Kerrins, Mark 54
Keyti (rapper) 169
Kijek, Kasia 201
kinetic art 41
kinetic energy 14
Klee, Paul 31, 36–37, 42, 134, 141–142, 243
Klif, Ivan 197
‘Klingende Ornamente’ (Fischinger) 33
Klomp, Karl 193
Knapp, Benjamin 317
Kojima, Kenji 351
Kontrast-Analogie 41
Korngold, Erich Wolfgang 156
Kronos Quartet 174
Kubisch, Christina 350
Kubota, Shigeto 195
Kunst Hochschule für Medien (KHM) 322
Kupa, Frantisek 133
Kupka, František 243
Kuri Suti Bekar (Barlow) 349
Kvifte, Tellef 318
Laban, Rudolf 305, 333, 341–344
Lakshminarayana, Shivakumar 212
Langer, Susanne 117
language 91–4
Laroche, Simon 317
Larsen, Lars 197
Laser Drawing (Novello) 200, 200
Laserium 199
lasers 199–201
Lauke, Karen 290–291
Leacock, Richard 171
Lee, Mike C.-Y. 235
Legal Nomads 212–213
Le Grice, Malcolm 122, 123, 126, 128
Lehman, Frank 150
Lehmer’s Linear Congruence Formula (LLC) 270
Lehrer, Jonah 233
leitmotiv technique 150
Leman, Marc 101–102
Lemm, David 357
Leviathan (Castaing-Taylor and Paravel) 172
Lewis, Jerry Lee 184
Lichtspiel Opus 1 (Ruttmann) 319, 366
Lichtspiel Opus 3 (Ruttmann): audiovisual analysis 371–377; musical reading of 365–378; musical score example 370, 372, 373, 374, 375, 376; spatio-temporal characteristics of 366–367
Life for Dance (Laban) 342
light 41–2
Lighthouse, The 289
“Light Music” (Rhodes) 88
Light Music (Rhodes) 124–125, 129
light-plays 41–42
light shows 198–201
Light Surgeons 165–166
Lincoln, Justin 357
Linear Dreams (Reeves) 203
“Line Describ ing a Cone” (McCall) 84
Liquid Spaces – Dynamic Models of Space in Art and Technology (residency project) 322
listening 245–246
Liszt, Franz 243
Li, Ze-Nian 354
Locus (Jung) 332, 335–340, 336, 340, 344–345
London Filmmakers Co-operative 124, 195
London Video Arts 195
‘Look’ (Venetian Snares) 351, 352
L’Orgue Mystique (Tournemire) 348
‘lost future’ 190–192
Lost Weekend, The (Wilder) 155
“Louie, Louie” (Berry) 182
loup en pierre, Le (Barlow) 349, 349
Ludwig, Christian 350
Lumia 198
lumia art 41–42
Luna Series (Battey) 272
Lund, Cornelia 87
Lurie, John 179
Lusted, Hugh 317
LUX Centre 195
Lycett, Ben 33
LZX Industries 195
MacDonald, Scott 161
Machado, Penousal 265
Mâche, François-Bernard 250
Mackintosh, Charles Rennie 289
Mackintosh Tower 289
Magic Flute, The (Mozart) 348
Magnuson, Ann 178
Malec, Ivo 250
Malevich, Kazimir 246–247, 253, 254
Manning, Erin 87
Mannone, Maria 354
Manovich, Lev 126
Mapplethorpe, Robert 219
Marciszewski, Piotr Temps 70
Marks, Laura 56
Marshmallow Laser Feast 199
Marxhausen, Reinhold Pieper 87–88
Massumi, Brian 52–53, 55, 59, 138
Mattox, Charles 88
Matyushin, Mikhail 243
Max (computer applica tion) 194, 320, 321, 323
McCall, Anthony 84
McDonnell, Maura 34
McKay, Glenn 198
McLaughlin, Cahal 162–163
McLuhan, Marshall 188
meaning: brain as screen 234–235; connotative 233–234; energetic 233–234; imagination and 233–238; intentionality and 238–239; meaning-making 92–94; metaphor and 237–238; symbolism and 237–238
Mechem, Madeline 353–354
media archaeology 203–204
Meigh-Andrews, Chris 88
Meinong, Alexius 94
Melodie der Welt (Ruttmann) 371
membranophones 318
mental images 236–237
Mera, Miguel 154
Merleau-Ponty, Maurice 138–139, 141
meta-narrative audiovisual discourse 18
metric synchresis (medium or long AVU) 21
Mey, Adeena 283
Miceli, Sergio 145
Mickey-Mousing: applications of 157–158, 230; pejorative connotations 146–147; re-evaluation 150, 158; spatial-perceptive function and 150–157; technique of 145–147, 157
mimesis 117–118
Mind and Movement (choreographic composition tool) 335
Mindscape (Robles-Angel) 319
Mini Oramics machine 203
Mitchell, Eric 179
modular systems 194–195
Moholy-Nagy, László 33, 41, 133, 243
Moholy-Nagy, Sibyl 141–142
Mondrian, Piet 243
monomedia diegesis (medium or long AVU) 25
mood music 149–150
Mori, Mariko 316
morphology 14
Morricone, Ennio 145
Morrison, Bill 201
Morris, Rosalind 172
Mothers of Invention 198
motion score: adaptions for 3D movie space 305–306; concept of 296–297; extract of 307–308; genesis 297–301; Labanotation 305; making motion 297–298; motion and narration 309–313; motion shapes 299; movements in Labanotation 306; movie as starting point 295–296; narration of readability 299–300; non-diegetic synchronisation 300; notes as variations 304; organic growth 300–301; process of making 297–314; relation between motions 298–299; relay 312; sequence four 312–314; sequence three 309–310, 314; sequence two 310–312, 314; stave 303–304; storyboard 302–303; symbols of Labanotation 306; texture 312–313; thinking motion 298–301; timeline 302–303; trigger 311; visual rhythm 312–313; visual stretch 309–311; writing motions 301–306
movement: beat/metre and 74–76; potentiality and 57–61; space-time and 51–53; water 228–229
Movie Drome (Vanderbeek) 188
moving image: phenomenological parameters of 6; sound and 122–125; sound-to-image mappings 7–8
Moving Matter(s) (conference) 332
Mozart, Wolfgang Amadeus 348
Mroué, Rabih 162
Mrugala, David 355, 356–357, 356
Munzter’s stern (Ullmann) 104
music: “Downtown Scene, The” 177–178, 186; film form and 184–186; Glitch aesthetics 189, 190, 192; ideology and 182; Jarmuschian 180–186; light shows and 198–201; modular systems 194–195; sounds 243–245; see also visual music
musical diegesis (medium or long AVU) 24
musical gesture 230–233
musical instruments 318–320
Musical Intentionality (Lee) 235
Music for Solo Performer – for Enor mously Amplified Brain Waves and Percussion (Lucier) 316
Music Room, The (Jung) 332, 341–245, 342
musique concrète 4, 241–242, 245, 248, 250, 252–253, 260
Mussorgsky, Modest P. 348
Mystery Train (Jarmusch) 182–186
“Mystery Train” (Parker) 183
“Mystery Train” (Presley) 183, 184
Mystic Image, The (Walker) 348
‘name’ motifs (Malinowski) 43
Nancarrow, Conlon 365, 368–369, 378
narration 151
narrative storytelling 22
Nash, David 291
Nature (Kastner) 226
Nature Morte (Hobbs) 219, 220–225
Nauman, Bruce 332
Nelder-Mead method 127–128, 265–267
Nelson, Kim 174
neo (alt-) radiophonic territory 190–191
Neruda, Pablo 238
Neurofeed back 317
Nicolai, Carsten 351
Nikolais, Alwin 339
Nine Inch Nails 352
Noise (Kijek and Adamski) 201
non-synchronisation 123
North, Alex 156
Notes on Music and Dance (Reich) 332
Novello, Alberto “JesterN” 200
No Wave 178
Nunique Quartet 105
object borders 70–71
object characteristics 70
object dimension 71–72
objet sonore 361
O’Brien, Glenn 179
O’Callaghan, Casey 101, 103, 118
Office de Radiodiffusion-Télévision Française (ORTF) 249
Oldfield, Mike 353
Oliveira, João P. 230, 232–233
on cut synchresis (instantaneous AVU) 19–20
‘One’ (Lemm) 357
OpenEEG (interface) 325
Optical Poem (Fischinger) 24
optical sound 203
optical sound formats (Sanderson) 124
OptiNelder filter 264–268, 278
Oramics system 351
Oramics to Electronica (London Science Museum exhibition) 203
Orbison, Roy 184
ORCUS (research centre) 317
Organ Music (Teitelbaum) 316
Ortsbestimmungen: das Dokumentarische zwischen Kino und Kunst (Hohenberg and Mundt) 163
‘oscilloscope music’ 350
Oval 189
Ox, Jack 132
Pabón, Consuelo 329
Paik/Abe Video Synthesizer 195
Palmer, Michaela 317–318
Pandermali, Natasha 337, 339–340
parametric diegesis (medium or long AVU) 24
parametric mapping 7–8, 24, 100, 103–104, 112, 128
Paravel, Véréna 172
Parker, Herman “Junior” 183
Parmegiani, Bernard 250
Pearce, Gail 162–3
Pedagogical Sketchbook (Klee) 141–142
People Like Us (Bennett) 190
Perec, Georges 59
Perkins, Carl 184
Permanent Vacation (Jarmusch) 180, 184
personal space 56
Perversely Interactive System (Hughes and Laroche) 317
Philosophical Enquiry (Burke) 134
phi-phenomenon 75
Phosphor (Henke) 201
Photosounder 351
PIXELSYNTH 351
place 285
Plaid 352
pletten (Harris) 282–283
Poe, Amos 177–9
“Point and Shoot” (Galea) 90, 90
‘pointillistic trance’ 199
Portishead 190
potentiality 57–61
Potter, Keith 311
Powell, Anthony 209
Prelinger Archive 190
Prendergast, Roy 147
Presley, Elvis 183–184
Prins, Gert-Jan 194
Prometheu (Scriabin) 319
Psychedelic Light Show Preservation Society, 198
Psycho (Hitchcock) 156
Pudovkin, Vsevolod 122–123
punctual objects 71–72
punk movement 178
puredata (modular coding environment) 194
Pythagoras 319
Quadrangle (Sanderson) 126
Raiders of the Lost Ark (Spielberg) 157
Ramoes, The 177
Raster Manipulation Unit, 196
Raumlichtkunst (Fischinger) 54
Ravel, Maurice 348
‘rave voyeurism’ 199
‘real’ sounds 10–11
reference parameters: object parameters 70–72; semantic parameters 69, 76–77; structural parameters 69, 72–74
Reflets (Boucher) 227, 228–229, 228, 232–233, 232
representation 93
Retour a la Raison, Le (Man Ray) 377
Return of the Jedi (Marquand) 157
Reynolds, Simon 192
RGB MusicLab 351
Rhodes, Lis 88, 124–125, 129, 203
rhythm: in audiovisual media 67–68; horizontal relations 74–76; Lichtspiel Opus 1 368–369; as meaning-making process 92–94, 97; Mickey-Mousing and 150; notion of 86–87; object parameters 69, 70–72; reference parameters 68–77; semantic parameters 69, 76–77; sound-image-touch relationships 87–89; structural parameters 69, 72–74; as tool of inquiry 66–67; use of hair-comb 83–85, 94–96; vertical relations 72–73; visual 182, 185, 312–313; in visual arts 87–90
rhythmanalysis, 116
Rhythmus 21 (Richter) 88, 125, 126, 366
Richards, Tom 203
Richter, Hans: as early pioneer of experimental cinema 4, 304; exploration of surface 246–247; modernistic formalist principles espoused by 132; relationship to Ruttmann 365–366; Rhythmus 21 (Richter) 88, 125; use of screen space 40–41
Riding, Laura 45
Riding on a Cloud (Mroué) 162
Rieke, Zachariah 357
Rijpma, Johan 201
Riley, Bridget 281, 290, 355, 359
Rimington, Alexander W. 121, 319
Rimsky-Korsakov, Nikolai A. 122
Riot Ensemble 371
Roaratorio (Cage and Cunningham) 25
Rocco Din, A (Sanderson) 126–127, 127
Rockabilly 182–183
rock and roll 182–183
Romero, Elias 198
Rosenboom, David 316–317
Rough Sea (Turner) 135–136, 135, 139–140
Rouzic, Michael 351
Rowan-Hull, Mark 45
Roy, Stéphane 17
Rubin, Rick 190
Rüdiger, Daniel von 167–169, 172–173
Run DMC 190
Ruskin, John 135
Rutherford, Anne 117
Rutterford, Alex 189
Rutt/Etra Scan Processor 195
Ruttmann, Walter: Berlin 371; as early pioneer of experimental cinema 4; on electroacoustic music 251; Lichtspiel Opus 1 319, 366; Lichtspiel Opus 3 365–378; Melodie der Welt 371; modernistic formalist principles espoused by 132
Ryan, Joel 335
Salter, Salter 331
Sánchez, Javier 360
Saturnz Barz (Spirit House) (Gorillaz) 211
Saxer, Marion 371
Schaeffer, Pierre 122, 127, 245, 249–250, 260
Schoenberg, Arnold 38
Scott Base 360 VR Walkthrough (Powell) 209
Scriabin, Alexander 121–122, 319
Scrimshaw, Will 117
Sea Hawk, The (Curtiz) 156
Sea of Ice (Friedrich) 295
Searle, John 238
sea, The (Neruda) 238
Seed/Tree (Robles-Angel) 321–322
Seeing Sound Conference/Festival 2
Selznick, David O. 146
Send Me Home (LONLEYLEAP) 210
Senni, Lorenzo 199
Sensory Ethnog raphy Lab (SEL) 171–172
Sesonske, Alexander 54
Seven Magnetic Places (Kubisch) 350
Shared Semantic Structural Search Model 69
Shiver and Spine (Alsop) 109–111, 110, 118
Sights & Sounds of a Coffee Plantation by Shivakumar (Lakshminarayana) 212
Signal Culture 195
Silk Chroma (McDonnell) 254
single images 52
Single Origin Laser (Fox) 200
Single Wing Turquoise Bird collective 198
site-adaptive 285–258, 291–292
Skin (Robles-Angel) 322–5, 324
Smalley, Denis 58, 102–103, 230, 232
Smirnov, Andrey 203
Smith, Patti 177
Sobchack, Vivian 54–55
Songs About My Cats (Venetian Snares) 351
sonic logos 116–117
sonified images 348–361
Sorensen, Vibeke 252
Sosnowski, Malwina 75
sound: affect and 116–118; diegesis 22–25; geometric approach to making visible 32–33; mapping to bodily movement 331–345; moving image and 122–125, 127–128; of music 243–245; phenomenological parameters of 7; sonic textures 46, 55–56; sound/image relation and gesture 231–232; sound/image relations in videomusic 13–26; sound-to-image mappings 7–8; synchresis 18–21; synchronised sound 122, 132, 145–147; technologies for playback 245
SOUND/IMAGE (conference/festival) 2–3, 288
Sound in Z (Smirnov) 203
Sound on Screen (Chion) 66
Souriau, Étienne 22
space: in Cinematic Virtual Reality 210–211; egocentric regions of 56; experiential space and touch 53–57; movement and 51–53, 57–61, 62; phenomenological 54–55; potentiality and 57–61; site-specific 291–293; site-specificity and 285; space-time 51–53, 61–62
spatial-perceptive function 150–157
Spectromorphology (Smalley) 230
Stalling, Carl 146
Stan Brakhage and Visual Music, On (Brakhage) 237
“Stardusts” (Marxhausen) 88
“Starry Night, The” (Van Gogh) 84
“Startle Effect” 155–156
Star Wars (Lucas) 150
‘Statement on Sound’ (Eisenstein, Pudovkin and Alexandrov) 122–123
Stefani, Ewan 290–291
Steven Lawrence Gallery 288
stone milker (Björk) 215–216
stop-frame animation 201
Story Without End (Bennett) 190, 191
Stravinsky, Igor 149
“Streamline” (Meigh-Andrews) 88
structuralist film 201
structural parameters 69, 74–76
Studie (Fischinger) 243, 246, 319
Studie Nr. 1 (Fischinger) 243
Studies (Cummings) 355
Studio for Electro-Instrumental Music (STEIM) 335
Study No. 1 (Cummings) 355–357, 359
Study No. 3 (Cummings) 357
Study No. 4 (Cummings) 357
Study No. 5 (Cummings) 357
Study No. 6 (Cummings) 357
Study No. 8 (Cummings) 357, 358
Study No. 9 (Cummings) 357
Study No. 10 (Cummings) 357–358, 358
Study No. 19 (Cummings) 358, 359
Study No. 21 [‘Canon X’] (Nancarrow) 368
Study No. 22 (Cummings) 358–359, 359
Study No. 24 (Cummings) 357
Sturm, Bob L. 360
sublimated diegesis (medium or long AVU) 22, 25
sublime 133–138
SuperEverything* (Light Surgeons) 165–166
surface 246–247
Sutherland, Ivan 207
Swan Lake (Tchaikovsky) 348
Sweetgrass (Castaing-Taylor and Barbash) 172
Sykes, Lewis 33
symbolism 237–238
Symphonie Diagonale (Eggeling) 41, 42, 366–367
synaesthesic correspondences 6
synch-points 145–147
synchresis: concept of 14, 18, 50, 122; descriptors 18–21; in visual music 104
Synchronator 194
synchronicity 72–73
synchronisation 21, 50, 56–57, 61, 128, 156–157, 167, 193–194, 244, 300, 311–312
synchronised sound 122, 145–147
synthetic diegesis (medium or long AVU) 23–24
Tagg, Phillip 50
Talking Heads, The 177
tape loops 192
‘tape music’ 248
Tate Modern 124
Tchaikovsky, Pyotr Ilyich 348
technology 84–85
Teitelbaum, Richard 316
tempo 76
temporal frameworks 49–51
Test Pattern [no 8] (Ikeda) 24
texture: concept of 62; as disposition of movement 58, 62; linearity and 53; as metaphor 237; relationship between gesture and 58, 62, 232–233, 276; sonic texture 46, 55–56; sound/image relation and 60–61; spatial transitions and 53; surface texture 6, 8; in visual art work 35; visual rhythm and 312–313
Thaut, Michael 86
‘The Aesthetics of Failure’ (Cascone) 189
The Brunswick Light Ray Process (BEEF event) 203
Theory of Objects (Meinong) 94
“Theremin Piece” (Mattox) 88
Thompson, Jeffrey 351
Thought Technology Ltd. 317, 323
Thousand Thoughts, A (Green and Bini) 174
Tilton, Roger 171
timbre 251–252
Tiomkin, Dimitri 156
Toccata and Fugue in D minor (Bach) 43
Tom, Tom the Piper’s Son (Jacobs) 201
‘tone figures’ 32
Tönendes ABC/ABC in Sound (Moholy-Nagy) 33
Tone, Yasanao 189
‘Tonoscope’ 32
touch 83
Tournemire, Charles 348
Tower (Nikolais) 339
Traité des objets musicaux (Schaeffer) 26
Tridimensional Music 354
Trip Hop 190
Triptych, May/July 2009 (Cummings) 354–355, 355
Tristan and Isolde (Wagner) 348
Truax, Barry 249
Truth, Dare or Promise (Pearce and McLaughlin) 163
Truth or Dare (Pearce and McLaughlin) 162
Turner, Joseph M. W.: affect and 133–138; sublime and 133–138
Turrell, James 133
TV party (O’Brien) 179
Ufan, Lee 358
Uganda w 360 (Legal Nomads) 212–213
Ullmann, Jakob 104–105
Ulysses Deriding Polyphemus (Turner) 136–137
undefined direction of action 77
Unité Polyagogique Informatique CEMAMu (UPIC) 351
Unitxt (Nicolai) 351
Universelle Sprachte (Eggeling and Richter) 41
Vagues (Boucher) 227, 228, 229, 229, 237–238, 238
Valéry, Paul 164
Vanderbeek, Stan 188
Van Gogh, Vincent 84
van Koolwijk, Bas 194
Vaporwave 191–192
variable-coupled map net works (VCMN) approach 270–273, 277–278
Variations V (Cage and Cunningham) 331
Varto, Juha 97
Vasulka, Steina 195
Vasulka, Woody 195
vectorisation 50
vector monitors 196–197
Vector Synthesis 199
Vectrex videogame console 197
vertical relations 72–3
Vicente-Sandoval, Dafne 104–105
Video Circuits 195
‘video-music’ 249
Vidiot 195
Ville Magnétique, La (Kubisch) 350
Vinyl Requiem (Jeck) 192
Virtual Reality (VR): definition of 206–207; perception and immersivity in 207–209
Visaurihelix (Harris) 284, 287–292
Vishton, Peter M. 56
Visible Evidence Conference 163
vista space 56
visual bias 148–150
visual music: affect and 116–118, 132–142; Apophenic Transmission (Pedersen/Chailight Productions) 112–116, 112, 113, 114, 115, 118; basic formal elements 34–36; cinema concrète 249; colour of middle C 121–122; colour-tone and mapping approach to 32; computer video 250; concept of 319; constructing images with electroacoustic music concepts 241–242; Digital Alchemy (McDonnell) 254–260; early pioneers of 4–5, 203, 243–246; embodiment and 138–142; exploring music with visual formations 42–44; extended listening and 245–246, 253–256; as form of glossolalic speech 120–130; as form of sounding visual 260; geometric approach to making 32–33; gesture as analytical framework for 100–105; historical context 242–251; independent and autonomous means of expression 38–39; means of expression for visual forms 36–37; moving image in 246–247; musical instruments 319; phenomenal body and 139–140; question of form in 30–46; relation of form to means of expression 33–34; role of artistic decision-making processes on 39–40; role of musical element in 45–46; Shiver and Spine (Alsop) 109–111, 110, 118; sound and moving image in 122–125; sounding visual techniques 251–260; surface and 246–247; technical-led content making and composition methods 248–249; universal language of form 40–41; use of light as material and expression 41–42; visual sonic listening and 253–254; Wind Sound Breath (Burke) 105–109, 106, 107, 108, 118
Visual Music for Ten Voices (Woloshen) 203
“visual symphony” (symphonie visuelle) 294
VJ scene 190
Voegelin, Salomé 101
Voyager Space Sounds (Thompson) 351
Vreeland, Rich (Disasterpeace) 352–353
Wagner, Richard 348
Walker, Tom 348
‘Walk This Way’ (Run-DMC and Aerosmith) 190
Walton, Kendall 92
War Horse (Spielberg) 157–158
‘Warning, The’ (Nine Inch Nails) 352
Water and Dreams (Bachelard) 235–236
Waterfront, On the (Kazan) 147
Wave UFO (Mori) 316
Weaving (Kubisch) 350
Weber, Mark “MFO” 198
Web-Mindscape (Robles-Angel) 319, 325–328, 326
Weibel, Peter 320
Wells, Alan 360
Whitehead, Alfred North 117
Whitehead, James (JLIAT) 349
Whitney, John 33, 125–126, 203, 282
Wilfred, Thomas 42, 121, 140, 319
Williams, John 156–158
Wilson-Bokowiec, Julie 331
Wilton, Andrew 136–137
Windowlicker (Aphex Twin) 351
Wind Sound Breath (Burke) 105–109, 106, 107, 108, 118
Wittgenstein, Ludwig 93
Wobbulator 196
Wu, Xiaoying 354
Xuman (rapper) 169
Yarra Bend Park 106
Year of the Horse, The (Jarmusch) 180
Yeo, Woon Seung 360
Youngblood, Gene 284
Young, La Monte 177
Young, Neil 180
Zama Zama Project, The (Morris) 172–173
Zappa, Frank 198
Zimmer, Hans 157
Zizek, Slavoj 184
ZKM Center for Art and Media Karlsruhe 321–322
Zomby 191
Zummer, Thomas 234