Wednesday, May 25, 2011

'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments.

"'Raumlichtmusik' - Early 20th Century Abstract Cinema Immersive Environments."
Essay by Cindy Keefer (Director Center for Visual Music)

"Leonardo Electronic Almanac, Creative Data Special Issue. Leonardo: The International Society for the Arts, Sciences, and Technology, and MIT Press. October 2009."

This is an important historical visual music essay on Oskar Fischinger and Jordan Belson's early experiments in creating abstract cinema for immersive projection environments. It traces the origins in their work of what is more common today - the immersive multimedia environment. Information about plans Fischinger had to present a multimedia performance for the Farblichtmusik shows (started by László) has been researched and documented in this essay and is very exciting information to check out for the scholar interested in accurately tracing the origins of visual music and in particular, its links to contemporary multimedia performance. The vortex concerts, are discussed in detail. These concerts are important to check out for both historical visual music but also in relation to tracing the origins of using projected visuals alongside electronic music, which is so common today, in relation to video projection with electroacoustic music. This article traces these connections and provides an introduction to its history. Do go and read.


"Filmmakers Oskar Fischinger and Jordan Belson created cinematic multimedia experiments from 1926 to 1959; three of these events are predecessors to immersive environments: (A) Beginning in 1926, Fischinger's multiple projector shows combining abstract films, colored light projections, and painted slides; (B) Fischinger's 1944 (unrealized) concept for a dome theatre with center film projectors filling the sphere, creating "endless space without perspective" and (c) Belson and Henry Jacobs’ 1950s Vortex Concerts at Morrison Planetarium, utilizing multiple projectors and 38 speakers, with
“no separation of audience and stage or screen; the entire domed area becomes a living theater of sound and light."

Article can be read online at:

Visit CVM Library Page for more resources in relation to visual music.

Tuesday, May 24, 2011

Andrew Hill - Flux

I have been coming across Andrew Hill's name in relation to visual music quite frequently recently. An up and coming artist and researcher in the audio-visual artwork genre. Flux is quite beautiful in its sound and image relationships - ordered, synaesthetic, gorgeous.

More info on Andrew Hill

"Andrew Hill is a composer from the UK. He studied electroacoustic music and music technology at Keele and De Montfort Universities electing to focus his studies upon audio-visual composition. He is currently conducting PhD research investigating audience reception of electroacoustic audio-visual artworks with Leigh Landy and Bret Battey at De Montfort University."


Flux from Andrew Hill on Vimeo.

"An audiovisual piece inspired by cyclic patterns, exploring sound and image relationships."

See also:

Friday, May 20, 2011

Understanding Visual Music 2011 - Conference - Call for Works

Call for works

Understanding VISUAL Music 2011

Hexagram-Concordia Centre for Research-Creation in Media Arts and Technologies
in collaboration with the Department of Music
Montreal - Canada
August 26th and 27th, 2011
Website for more information:




A two-day conference focused on developing an understanding of the
practice of visual music, its definition, related creative and
perceptual considerations, current trends, technological innovation, and
possible future directions.

The event will take place on *Friday the 26th and Saturday the 27th of
August 2011* and will include paper sessions, roundtable discussions,
and creative works presentations.

We are inviting researchers to present studies that address visual
music's multiple definitions and dimensions, questions around visual
music aesthetics and meaning, hierarchy and correlation of sound and
image in this context, and the audience's perception thereof. Artists
are also invited to propose visual music presentations -- both live and
fixed. Attendance is required in both cases.


*Paper presentation*: please use the *online submission engine *at to send: [1] an *abstract* (250 words or
less)**and [2] a *short biography *ready for printing (250 words or
less). Additionally send [3] *a 3-page CV as a PDF file *to .

*Visual music presentation*: please use the *online submission engine
*at to send: [1] the title of your *piece,
duration*, indication whether the presentation will be *live or fixed*,
[2] a *short description* of the proposed piece (250 words or less), [3]
a *short biography *ready for printing (250 words or less), and [4]
*detailed technical needs*. Also include [5] *links to audiovisual
sample material* hosted in a *non-expiring URL* (for this reason, please
do not send your audio-visual material using /yousendit/ or any similar
applications, and do NOT send your audio-visual material by email) and
[6] send a *3-page CV as a PDF file* to


*Paper presentations*: each paper will be presented in person by the
author for approx. 20 minutes followed by 5-10 minutes of discussion.

*Visual music presentations*: creative works presentations will take
place in a visual music show that will conclude the colloquium and
between paper sessions throughout the day.

*Roundtable discussion[s]*: an hour-long open discussion on key issues
related to the main theme of the colloquium.


- *Deadline *for reception of proposals: *June 18th, 2011*

- *Notification* of acceptance: *June 30th, 2011*

- *Confirmation of attendance* by artist/researchers: *July 20th, 2011*

- *Colloquium* UVM2011: *August 26th-27th, 2011*


Ricardo Dal Farra (co-director)

Eldad Tsabary (co-director)

Luigi Allemano (collaborator)



UVM2011 website:

*Understanding**V**I**S**U**AL Music 2011*

Tuesday, May 17, 2011

Radio Dada by Rosa Menkman

Rosa Menkman's work is beautiful in how it works with glitch and artifact images in her video work.

"Every technology possess its own inherent accidents. ЯOSΛ MEИKMΛN is a Dutch visualist who focuses on visual artifacts created by accidents in digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative experiences, Rosa emphasizes their positive consequences."
Source of quote:

Radio Dada by Rosa Menkman

Video: Rosa Menkman
Music: Extraboy

Radio Dada from Rosa Menkman on Vimeo.

"The video-images are constructed out of nothing but the image created by feedback (I turned a high-end camera on a screen that was showing, in real time, what I was filming, creating a feedback loop). Then I glitched the video by changing its format and subsequently exporting it into animated gifs. I (minimalistically) edited the video in Quicktime. Then I sent the file to Extraboy, who composed music for the video. The composing process started with a hand held world radio. Extraboy scanned through frequencies and experimented with holding the radio in different parts of the room while touching different objects. Eventually he got the radio to oscillate noise in the tempo that he perceived in the video. The added synthesizer sounds were played live to further build on the non-digital sound and rhythm. This was later contrasted with drums which were digitally synthesized and processed through effects with a very digital sound to them. Just like with the video, the digital and analogue media and aesthetics of sound are mixed into one coherent whole."

Rosa's website is a homage to her aesthetic - wow! (with audio too and flickering favicon)


Thursday, May 12, 2011

CCRMA Stage - Light Dreams: Visual Music by Vibeke Sorensen

Light Dreams: Visual Music by Vibeke Sorensen

Date: Mon, 05/16/2011 - 8:00pm - 9:45pm
Location: CCRMA Stage, The Knoll, Stanford University, USA
Event Type: Concert

"a retrospective of works by the renowned visual music artist and scholar Vibeke Sorensen. The concert will include a world premiere of Green Space, a new work in stereoscopic 3D."

Website with more information:

Wednesday, May 11, 2011

Call for Works - MuVi3. International exhibition of video and moving image on synesthesia and visual music

"MuVi3. International exhibition of video and moving image on synesthesia
and visual music
Palacio de los Condes de Gabia (Granada, Spain) and Almeria University
16 th -19 th of February 2012

MuVi3, invites artists, musicians, designers and performers, also
professors and university students, to submit proposals of kinetic works to
be part of a public exhibition, with performances and discussions.
The event is organized by the Foundation of Artecittà (Granada), the
Politecnico di Milano, the University of Granada and the University of

Deadline for submissions:
15 July 2011
Fee of submission: Free
For informations:

Download of the Text and Forms of the Call in:
Contact: and

Audiovisuelle Rauminstallation fear:love by Gerrit Kress

This is a very fascinating audio visual work - emulating human emotion - those of love and fear, and how wonderful this piece is. The introduction is like the audiovisual elements breathe together.... a beautiful artwork.

Audiovisuelle Rauminstallation fear:love from Institut Fuer Musik Und Medien on Vimeo.

"fear: love is an audiovisual installation by Gerrit Kress, which deals with the two emotions fear and love. It shows the center of human emotion: an inner core that contains the particular emotion, grown in a system of transmitting and receiving arms that allow communication with the body and mind."[google translate from German]
Source: vimeo link:

Tuesday, May 10, 2011

CVM Lecture And Screening - At ZKM Germany - May 11, 2011

CVM at Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany May 11.

For more information on this event, visit$7532

Cindy Keefer, Director of the Center for Visual Music Los Angeles, will discuss and screen work by pioneers of kinetic art and pre-digital cinema from CVM's archives... Keefer will screen work from CVM's archives including Dockum's “Mobilcolor Projections,” Bute's “Abstronics” (an early oscilloscope film), a short Bute documentary, the Fischinger “Lumigraph Film,” and more. She will discuss CVM's work with the Fischinger legacy, current preservation work, and “Raumlichtkunst,” the new restoration of his 1920s multiple-projector performances.

Followed by the screening “Films Sacred and Profane” by Jordan Belson

for more information on Center For Visual Music and visual music related events and news

Monday, May 9, 2011

Cadences for the Rest Of Us

While studying theory and composition at university, one of the first things they talked to us about was voice leading. Voice leading is simply trying to find the best way of connecting the different voices in your harmony. You would start with a Cantus Firmus (fixed song) and work at writing counterpoint to that melody.

A big part of voice leading and counterpoint are cadences. Cadences are simply a way of ending musical phrases and ideas. There are a number of different cadences that happen in music. These are still just as relevant today although not used in exactly the same way. Today we're going to look at the different 'classical' cadences and see how they are used in today's music.

Following the Rules

When classical (i.e. classical, romantic, baroque etc.) musicians sat down to compose, there was a huge emphasis placed on voice leading and counterpoint. Classical musicians were preoccupied with the importance of the various independent lines, maintaining the voices and making sure there were no holes in their part writing (e.g. parallel 5ths and octaves). There were (still are) a whole set of rules that musicians would follow to make sure all of these things were taken care of. There were also other rules, like certain intervals (e.g. dim. 5th) and leaps that were to be avoided. Since the 20th century counterpoint has fallen out in place for more block and parallel lines. Most of the rules that were made for writing for band in the classical tradition were thrown out in the jazz era. Jazz musicians focused more on parallel lines, 'dissonant'* harmonies and swing. Voice leading though, is still an important part of writing and arranging in various styles.
*What at one time was considered dissonant (unpleasant, tense) may later be considered consonant (pleasing, no tension). It often happens that once people hear a dissonant interval or harmony often enough, it no longer is considered dissonant. Other general practices, (like always having to resolve suspended sonorities or ending on the I chord) no longer become particularly necessary. One of the trademarks of a innovator is someone who takes well known conventions and throws them out the window. Of course it helps if they do it in a musical and interesting way, instead of going against the grain just to be different.
The Perfect Cadence

With voice leading, it's important that the individual voices move in the proper way. There are predetermined ways to end phrases and pieces. For example classical musicians would always end a piece with a perfect cadence (i.e. a V-I progression in root position). This had an element of finality to it that was the norm and part of the style. When writing out a V-I, there are a number of ways to arrange the four voices*. If it was in the middle of a piece, the cadence had to be voiced a certain way, if it was the end of the piece, it had to be voiced another way. If you're wondering why most of the symphonies you hear end in the same way (the big repeating V to I), this is why. Beyond the theory with the individual voices, to most of us a perfect cadence is simply a V-I chord progression. This is considered the strongest progression in music simply because as soon as we hear that V chord, we immediately want to go back to the I.
*Classical musicians would often write out their voice leading in four voices (separate lines). This was a convention that started early in Western Music and is still done today, even though we often hear sonorities made up of more than 4 voices.
The Plagal Cadence

Beyond the V-I cadence, the other most used progression is the IV-I. This is referred to as the plagal cadence. Of course the voice leading rules that applied to the perfect cadence also applied to these. Whereas the perfect cadence had a finality to it, the IV-I progression isn't quite as strong. Where the perfect cadence felt more like a period, the plagal cadence was more like a comma. The IV almost feels like it could go anywhere; it doesn't have the strong desire to go back to the I. In this way the IV-I would often be used in the first part of a phrase letting the listener know that you weren't quite completely done.

The Imperfect Cadence

Whereas the perfect and plagal cadences both returned to the I, this cadence ends on the V. This cadence has much more of 'suspended' feeling. You are literally left hanging and seem to be waiting to hear the rest of the musical idea. It mostly stems from the strong urge of the V to return to the I. But in this case, it doesn't resolve.

Beyond the Basics

If you've studied music theory, you'll notice that these cadences are still the backbone of most of our music. There are books filled with 3 chord songs that use these progressions only. Don't be fooled by their simplicity, they're still very effective. If you're just beginning on your writing journey, don't be afraid to fully explore these basic progressions. They're effective because they work. Once you've gotten used to using these, you'll be able to use them in your own creations at will. Also, after using these for an extended period of time, you should be able to pick them out immediately in a song. Try listening to a song that has one of these basic progressions and see if you can tell what the chords are without your instrument.

So What??

So how can we use this in our writing? By knowing some of these conventions, we can use them (and go against them) at will. For example, try writing a short 4 bar phrase and end it with either a plagal or imperfect cadence. Notice how the music seems to begging for another phrase. Now write another phrase and this time end with a perfect cadence. See how the whole 8 bar phrase now seems like a logical sentence. Now that you know this, you can use this or go against convention on purpose. Try writing the piece but don't use any perfect cadences until your chorus. In fact try not to use the V chord at all. You'll notice that the cadence may have a different effect if it's only used once at a pivotal point (like at the end of the chorus) in the song.

Sunday, May 8, 2011

Binary Opposition - by Edgar Barroso

"Binary Opposition" for Video and Electronics by Edgar Barroso

Edgar Barroso
"Born in Mexico in 1977, Edgar Barroso is a PhD Candidate in Music Composition at Harvard University where he works with Hans Tutschku, Brian Ferneyhough, Helmut Lachenmann, Michael Gandolfi and Chaya Czernowin. "

This is a stunningly beautiful audiovisual work, that seems to reduce both aural and visual material to one thing, which is then used as material to craft a unified work that consists of aural and visual material. What I love about this piece, is its incredible sense of structure and development with visual and aural elements evolving over time into a variety of similar and dissimilar transformations - really engrossing work from start to finish.

View on vimeo

"Binary Opposition" for Video and Electronics by Edgar Barroso from Edgar Barroso on Vimeo.

"Binary opposition is a piece that explores the interaction of stable and unstable materials that interact producing a set of possibilities that goes beyond the limited nature of their own. They are all affected by each other, and are also “invaded” by a disruptive characteristic of the frame space that speeds up the materials, similar to wind that provokes acceleration. Metaphorically: The actual weather of the frame. "


Saturday, May 7, 2011

Vessel - Alba G. Corral and Jon Hopkins

Vessel - Alba G. Corral and Jon Hopkins

The visuals in this piece are just beautiful.

Vessel - Jon Hopkins from Alba G. Corral on Vimeo.

Collaboration between Jon Hopkins and Alba G. Corral in L.E.V. 2011

Website: Alba G. Corral

"Alba G. Corral (Madrid, 1977), based in Barcelona, use the code to create visual tools to give life real-time digital abstract landscapes. Develops programming
visual generative art and live performances in the live context cinema.

Combines form and technique, getting narratives that create atmospheres express sensitivity and taste for color. Has come a long way always related to visual manipulations. Improvisation different atmospheres digital sound and language become
abstract organic sensations in their creations take shape Processing carried out with the tool.

Regularly collaborates with musicians of the Barcelona scene as Miguel Marín, Stendhal Syndrome, or Nikka Aneas Iris, co which is the audiovisual project The Space in Between."
Translated with google translate
Original text:

Friday, May 6, 2011

How To Learn Music

As we went through school, we realized that there were good ways to learn and bad ways to learn. We discovered some shortcuts and methods that helped us through the rough spots. As we get older and leave school we forget some of these and the effectiveness in learning. We're going to look at the different ways we learn and how we use certain techniques to improve our progress.

Beginner's Mind

When growing up and learning new skills, most children just usually dive right in. They don't think too much about the whys or what-fors, and just get into absorbing the new skill. (They're also usually excited which is another great advantage). As adults we learn that not everything that is placed in front of us is great, so we question a lot. We have a lot more internal dialogue going on. And, most of all, we have more bad habits and well defined patterns of thinking. These are useful in most situations but when learning something completely new, it's better to have what's called a 'beginner's mind'. A beginner's mind is to start with a completely open and empty mind; which is a lot harder than it seems. First of all, you have to be willing to make mistakes. You have to have the mindset that you know nothing. Even though you may want to build on your current knowledge, it's better to come into each learning session with an open, empty mind. It also means to be relaxed and pliable. For example when you learn a new music style, just try to absorb as much as you can without making too many judgements or evaluations. Just try to listen and absorb. There many be part of the style that doesn't make sense to you and having an open mind will help alleviate that.

There's a story about 2 martial artists that we taking part in learning a completely new form of martial art. They both we champions in their own style but this was something completely new. One of the martial artists was quite proud of his accomplishments and made no secret of his skill. The other martial artist was the opposite; in fact most of the other students didn't know that he was a champion at all. The first martial artist had a hard time learning the new style and eventually dropped out. The other martial artist became quite skilled at the new art. It wasn't until graduation that the martial artist let the others know about his other skills by going through an impressive set. The first martial artist relied on his previous training and when it became obvious that it was getting in the way, he couldn't 'drop it' to learn the new skill.


When you first started learning, you had an incredible amount of patience with yourself. When I teach children I'm always amazed at how much they'll work at it and not get discouraged. As adults we learn that if we don't get something within a reasonable amount of time, we probably won't get it at all. When students come in to me and want to learn certain skills, I already know how much time that will take. I know that if a student wants to learn skill 'x' it may take a year or so. Most things in music take longer to master than we usually think. I also know that it will take that amount of time if the student practices and sticks to the program. You're going to have to have patience when learning. It's not only good to have patience in the long run but in the short too. When I teach a new strumming pattern or a new finger exercise, I tell the student to have patience and practice slowly. I know that this rarely happens but I can't stress enough how important this is. If you learn a new exercise and practice it slowly until you can do it without mistakes, your progress will be much, much quicker.

Be Engaging

One of the things that you will notice when learning, that small details usually make a huge difference. This is just as true in music. When learning new skills you will find that there are always small details that come up. It can get to the point where you may feel that you're getting nit-picky. It's not really being picky as it is being thoughtful and concise. That means that whenever you learn something new, try and engage the mind as much as possible. You will find that when you really get into the process, all other thoughts will drift away. You'll absorb much more than usual and the new ideas will be assimilated much easier. It's the same thing when practicing, really think about what you're doing.


This is the primary way we pretty much learned to do everything for the first part of our lives. It's effectiveness can not be understated. Yet as we age, we feel that we must do things our own way. We feel that mimicking or emulating somebody else is cheating or just wrong. This in fact, is a great way to learn any skill, not just music. If you want to learn a new style, a new move, or get a new sound, one of the best ways to start is by mimicking somebody else who already does what you want to do. There are many advantages to this. First of all, they've probably done most of the homework for you. They've found what works for that particular situation. Second, by emulating them, you will automatically pick up subtle information and nuances that can't be gleaned from normal techniques. Most of all, your getting straight into what you want to learn and how you want to sound. If you want to get that blues sound, go right to the source. Then, once you have it, take it to the next level...

Taking It Too Far

For a lot of musicians, the last paragraph may be a big no-no because so often in music, musicians get so enamored with certain artists and styles that they become carbon copies. They exhibit no originality or creative thought. This is a familiar pattern to fall into but easy to avoid. The best way to avoid it is to do what I tell all of my students to do; I tell them; learn this stuff cold, then rip it apart. If you learn new techniques and go one step further and try to incorporate some creativity you end up with a musician who sort of sounds like this but still has something all their own. That way you impart the style and sound that you were looking for, but still have your own individual sound and voice. Not only do you develop you own sound, you may take the style to a whole new level. This is a long used tradition in blues and jazz, not to mention whole schools of music. The other way to avoid becoming a carbon copy is to learn the style of many different artists. Learn the styles of many artists in your genre but also include other related genres. Try to apply all of the different things you learned and develop them into your own style. Of course if you're a composer, an improviser and a gigging musician, you're going to have to be able to do both. You'll have to be able to fit into a certain category, make it sound authentic without straying too far, and still have your own voice.

One Day At A Time

Music is a huge and wonderful world. It takes a while to grasp all of it's subtleties but can be enjoyed the second you pick up the instrument. It takes constant and concentrated effort. It's not hard, it just doesn't happen overnight. Take your music lessons and practice sessions like a daily meditation. Forget the world and focus on what's in front of you. Use all of the tricks and things you learned when you were young and trying to get through school. Music is a life long learning experience, sit back and enjoy the ride.

Thursday, May 5, 2011

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.

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


Visit CVM Events page for up to date information on Visual Music Events

Advanced Beauty - 18 Sound Sculptors

Advanced Beauty - 18 Sound Sculptors - 2009
Curated by Universal Everything
Soundtracks by Freefarm

A DVD was created and there are links to purchase the DVD on their website. The website created to support the collection is excellent with links to the artists whose work is documented online, with video clips online on their website and on their vimeo channel, so all can be seen online which is a great resource.

"Advanced Beauty is an ongoing exploration of digital artworks born and influenced by sound, an ever-growing collaboration between programmers, artists, musicians, animators and architects.

The first collection is a series of audio-reactive 'video sound sculptures'. Inspired by synasthesia, the rare, sensory experience of seeing sound or tasting colours, these videos are physical manifestations of sound, sculpted by volume, pitch or structure of the soundtrack.

The films embrace unusual video making processes, the visual programming language Processing, high-end audio analysis and fluid dynamic simulations alongside intuitive responses in traditional cell animation. Each artist was given the same set of parameters to work within; to start, finish and exist within a white space, creating a seamless coherence, all sculptures sharing the same white environment.

Using 1920 HD format, with 5:1 surround sound, the films transform the screen into a digital canvas, how the minimalism of a single, floating pixel can be as engaging as the maximalism of an intense multicoloured explosion.

Curated by Universal Everything and musician Freeform, Advanced Beauty is an international collaboration, taking in a family of artists from London, Russia, New York, Japan, Buenos Aires, Glasgow to San Francisco."


Wednesday, May 4, 2011

Clinker - Gary James Joynes - Live Cinema

"GARY JAMES JOYNES is a sound artist, composer and visual artist from Edmonton, Canada...As CLINKER, his work explores meditative spaces and the kinesthetic and synesthetic effects of sound and visuals...Recent work includes "On the Other Side..." a Live Cinema piece commissioned by the 2008 INTERNATIONAL LEONARD COHEN FESTIVAL"

Clinker Live Cinema

Really beautiful work by Clinker in Live Cinema performance. He provides a really useful and interesting definition of Live Cinema on his website's live cinema page.


CLINKER’s Live Cinema creates a live synchresis between audio-visual events which reside in the moment. No computer or MIDI synching is used in the genesis of these events.

All A/V “connections” are live and are made possible organically through the use of live layering / phasing / triggering techniques.

Clinker’s interest is focused on the creation of a truly unique experience for each audience member using the brains natural ability to “connect the dots.”

All vocals and harmonies are performed and layered live in concert.



The term “Live Cinema“ has hitherto been used primarily to describe the live musical accompaniment of silent movies. But that was yesterday. “Live Cinema“ today stands for the simultaneous creation of sound and image in real time by sonic and visual artists who collaborate to elaborate concepts on equal terms. The traditional parameters of narrative cinema are expanded by a much broader conception of cinematographic space, the focus of which is no longer the photographic construction of reality as seen by the camera’s eye, or linear forms of narration. The term “Cinema” is now to be understood as embracing all forms of configuring moving images, beginning with the animation of painted or synthetic images."

VIEW VECTOR RAILS | Temporal Extinction Event 2011 Live AV Performance
Click image or link to view on vimeo



Filter - Issue 66 - Synchresis

Filter Magazine Issue 66 / Synchresis
Australian Sound Artists working at the spontaneous weld between sounds and image.
December 2007.

Monster and Maps by Mitchell Whitelaw

Synchresis DVD

"The Synchresis DVD, curated by Mitchell Whitelaw brought together ten Australian sound artists:
Gordon Monro,
Wade Marynowsky,
Peter Newman,
Jean Poole,
Julian Oliver & Steven Pickles,
Robin Fox,
Andrew Gadow and
Abject Leader.

3000 copies were circulated in Filter Issue 66 nationally and internationally and the DVD was launched at the Chauvel Cinema Sydney with live performances by Robin Fox, Peter Newman and Ian Andrews."

Synchresis DVD vimeo channel

The Synchresis DVD works can be seen on ANAT’s Vimeo Channel.

Example highlighted here: - PRINCIPLE 4 (excerpt) by Botborg

ANAT, Filter Issue 66 Synchresis, 2007 - PRINCIPLE 4 (excerpt) by Botborg from ANAT on Vimeo.

"First published as the ANAT (Australian Network for Art and Technology) Bulletin in July 1988, Filter has been informing and inspiring a global network of artists, designers, curators, researchers, writers, educators and creative and research organisations for over two decades. Each issue thematically investigates an area of emerging practice or art form of the future; exploring the new creativities which are occurring across community, culture and industry."

Event - The New Flesh - May 2011

Event - The New Flesh - May 12, 2011 - Toronto, Canada.
"Experiments in audio video performance exceeding all reason! avant garde video in the omega age"

Thursday May 12, 2011
The Revue Cinema, 400 Roncesvalles Avenue, Toronto, ON, M6R 2M9. Details and updates available on the facebook event page here.

"The New Flesh
Experiments in audio video performance exceeding all reason! Avant garde video in the omega age.

Featuring Performances by:
Botborg (Germany / Australia)
Nohista (France)
Rybn (France)
Rko (France)
Skeeter (Canada)
Mandelbrut (Canada)
The Nod (Canada)
Tasman Richardson (Canada)"


Schematic as Score by Derek Holzer

Vague Terrain 19: Schematic as Score: Uses and Abuses of the (In)Deterministic Possibilities of Sound Technology.

Interesting article on synthesising images and sound and looking back to electronic video and music pioneers to provide a context for more informed contemporary work that synthesise video and sound.

View article:

Tuesday, May 3, 2011

Optical Glasses Installation

I have just come across this very interesting audiovisual project installation, based in Russia. The glasses are illuminated to the music. It consists of hardware and software to realise the illumination.

A video clip of the installation is available on youtube or at the website documenting the project
Youtube link:

Monday, May 2, 2011

Bart Vegter - Nacht-Licht - 1993

Bart Vegter, Nacht-Licht, Netherlands, 1993, 13 min. 16mm

View Nacht-Licht on the EYE channel at Preview Instant Cinema

"Vegters first film made with the use of handwritten image generating computer programmes. Each of the three parts in the film has its own, formal starting-point. On this formal basis, variations are executed by gradual changes in position, direction, movement, velocity and colour of the elements."

Kurt Laurenz Theinert - Visual Piano

Light Installation Artist - Kurt Laurenz Theinert - Visual Piano

Kurt Laurenz Theinert is a photographer and light artist, who develops, performs and installs incredible light installations.  The following is a summary of his visual piano instrument.

"The visual piano is an instrument which makes it possible to create moving images in a space. It is unique and was conceived and developed by the photographer and light installation artist Kurt Laurenz Theinert in collaboration with the software designers Roland Blach and Philip Rahlenbeck.

Using a MIDI-keyboard it is possible to generate varying graphic patterns which can be digitally projected onto one or more screens. These dynamic and immediate drawings in light are not (as with VJ soft-and Hardware) generated by pre-recorded clips, but every moment of the performance is being played and modulated live and in real time via the keyboard and pedals."

Source from website [Text: Winfried Stürzl]

Visit his website for more information on his work, installations, collaborations and performances.

The visual piano has been used in installations and in audiovisual concerts. 

"Over several years the pianist Martin Stortz and Kurt Laurenz Theinert have been exploring the relationship between pianosounds and graphic patterns generated in realtime by using the visual piano. Sound an image interact in a very sensitiv dialogue - creating an audivisual concert."
source: Link

on the link above, there is a link to a quicktime video clip excerpt


Youtube embed: Light Concert
marienkirche stuttgart, nikola lutz, saxofon, kurt laurenz theinert, visual piano

CVM - Charles Dockum - Mobilcolor

Historical Resource

The Center for Visual Music (CVM) has a really useful research page on the Charles Dockum, the inventor of the mobilcolor projector - a projection device for performing abstract colour imagery.

Visit website:

Sunday, May 1, 2011

Call for Visual Music Works - VISUAL MUSIC AWARD


Call for Entries 2011

"The avant-garde-artists of the “Absolute Film” movement worked on visionary film experiments. They created visual symphonies from animated images which they composed on film according to their perception as artists. These were called “paintings in time”, ”visual music”, “symphonies of light and sound”, “cinematic paintings”, “color light music” or “space light art”.

Target Groups:

The “Visual Music Award 2011” is again an international call for proposals addressing young talents. Invited for participation are young independent creative artists and designers as well as students for example in the disciplines of new media art, experimental film and music video and allied disciplines.

In the year 2011, for the third time, we invite video jockeys (VJs or DJs) and "live-performance" artists to participate with their formats in the catagory "visual music live contest"!"
More information:

An Evening of Visual Music with Dennis Miller

CCRMA - An Evening of Visual Music with Dennis Miller
[CCRMA = Center for Computer Research in Music and Acoustics, Stanford University, US]

A concert of visual music works presented by Dennis Miller at Stanford University - 5th May, 2011

An Evening of Visual Music with Dennis Miller
Date: Tue, 05/03/2011 - 8:00pm - 10:00pm
Location: CCRMA Stage, The Knoll, Stanford University
Event Type: Concert

"Dennis Miller, a visual music artist and scholar curates an evening of selections from Northeastern’s Visual Music Special Collection.

Come to see works by: Stephanie Maxwell, Vishal Shah/Adam Stansbie, Harvey Goldman/ James Bohn, Jim Ellis/Aksak Maboul, Damir Cucic/Erich Maria Strom, Betsy Kopmar/ The Headroom Project (Andreas Ecker), Bret Battey, Semiconductor (Ruth Jarman & Joseph Gerhardt), Brian Evans, Tina Frank/General Magic, Jean Detheux/Michael Oesterle, Bum Lee/Erik Satie, Karl Lemieux/Olivier Borzei, Gerhard Daurer, Eva M. Toth/Gyorgy Kurtag Sr., Gyorgy Kurtag Jr. and Dennis H. Miller."


CAMP Festival - Festival for Visual Music

CAMP Festival - Festival for Visual Music - June 2011

CAMP 2011 international festival for klangkunst and visual arts

performances june 11 and 12 at 9 pm / pogon, Zagreb
symposium visual music, lectures, rehearsals:
june 6 - 9 at 10am - 10pm, free access
CAMP festival party june 11 starts at midnight

"The CAMP Festival was founded in 1999 by Prof. Fried Dähn and Thomas Maos. Since 2003, it has been organized and run and coordinated by CAMP e.V. (Thomas Maos, Fried Dähn, Stefan Hartmaier, and Martin Mangold) .

The festival in Zagreb is a cooperation between CAMP e.V. Kirchentellinsfurt and KONTEJNER Zagreb, Croatia.

"Developement of new forms of audiovisual art. Research. Cooperation and communication. Intercultural and intermedial exchange between artists."

"The international Festival CAMP (Creative Arts and Music Project) is characteristically marked by experimental and electronic music in convergence with visual disciplines. For several days a selected group of artists, who belong to the international avantgarde in their field, work in a “laboratory of time” on audio – visual projects which will be presented to the public at the final performances."

"It is an innovative platform and interactive research lab for sound artists, musicians, and artists in the areas of video, installation, projection and new media. It focuses on new, experimental music in conjunction with light, projection and media art. In what is effectively a laboratory created for a defined period, artists – all of them recognized members of the international avant garde in their respective fields – collaborate for several days on new forms of audio-visual art, presentation techniques and live performances. The results are showcased to the public in concerts, installations, and performances held alongside the event. Moreover, various topics and aspects are presented and developed in accompanying lectures and workshops."