Music in the Expanded Field
Workshop on Audiovisuality
Tutor: Marko Ciciliani
Workshop with selection procedure (completed)
For participants of the International Summer Course for New Music 2016
Maximum capacity: 10
– Interaction between visuals and music
– Visualisation of music
– audiovisual concepts
Requested technical equipment will depend on the individual projects. Recommendations:
For fixed media: any DAW, preferably Reaper 5
For live electronics: SuperCollider, PureData or MaxMSP
For fixed media: Final Cut or Adobe Premiere
For live video: Processing or openFrameworks
External contol: Midi Controllers or other interfaces (Wii, Kinect, LeapMotion etc.) or for special designs: Arduino, breadboard and other electronic components
For lighting: any USB->DMX or UDP->DMX converter
In 1978 Rosalind E. Krauss published the seminal article “Sculpture in the Expanded Field” where she described a fundamental shift in the understanding of the term 'sculpture' in the context of visual arts. According to Krauss, during the 60s the term grew to include a large number of contrasting practices that reach far beyond the traditional understanding of sculpture, as e.g. land art or conceptual art. Krauss' publication marked a shift in the understanding of art that manifested itself in a different manner of handling material and of referentiality.
Nowadays, a similar shift can be observed in music. Today, many composers are working beyond the traditional boundaries of music, expanding into other media and/or practices, often drawing from the visual fields. They nonetheless maintain a connection with the original musical motivation. This practice often makes it appear as though, in these particular works, sound alone would not suffice to express musical ideas in satisfactory ways. This is in contrast to many more conventional combinations of media, where the respective boundaries – along with the different authors – can easily be detected.
This workshop “Music in the Expanded Field” will pursue this line of thought while focusing on the combination of music and visual media. It is aimed at musicians, composers and sound artists who are expanding into visual designs while originating their motivations in musical ideas, thereby searching for genuinely audiovisual art forms.
Focus will be placed on video and lighting. During the workshop the realization of a number of projects will be supervised, leading to a public performance as part of the festival program. Furthermore, the aforementioned developments will be reflected upon in joint discussions.
The main questions to be raised are:
How can audiovisuality be approached and understood today?
What are the technological options to pair sound and visuals? How can interactivity be included? Can audiovisuality become part of instrument design?
What are the artistic implications of audiovisuality? Can sound and visuals be conceived as a continuity or are they bound to their medium specificities?
There was a Call for Projects for this workshop and participants have already been selected by the tutor.
Introductory sessions will take place before the summer course where various foundations for the workshop will be established. First, theoretical basics regarding audiovisual forms will be conveyed:
a historic survey of audiovisual forms of art;
concepts of interrelationships between different media;
concepts of music beyond sound;
Second, the accepted projects and further preparations will be discussed so that the time during the summer courses can be used as effectively as possible.