I personally, artistically view the creation of audio-visual environments in three ways:
- As a means to explore the relationship between sound and image, an experimental process that requires test material (video art, interactive systems, etc.) and test subjects (myself as creator, other creators, an audience).
- As a way to challenge myself and to work through ideas of shape, gesture, and time that can’t be done with sound or image alone. A conduit for a yearning to build, a yearning to control, and an interest in graphic design.
- Exploring how video can be used in the context of acousmatic music in order to address its inaccessibility to larger audiences, presenting video as an added circuit that softens or bypasses what Leigh Landy calls an audience member’s “musical fuse box” breaking when presented with unfamiliar musical material. (Understanding the Art of Sound Organization by L. Landy)
In this class I’m interested in
- discussing the creation of interactive audio systems and video art in which the relationship to sound is essential and
- talking about what it means to be an artist creating video art, using several readings and works of my own as a jumping off point.
Readings + Discussion Thoughts:
Kate Horsfield – Brief History of Video Art
• Contemplate the activist birth of video art and how it relates to the creation of video art in 2017
Cook via Jordan – Models of Multimedia Interaction
• What are positive attributes of Cook’s model? What are potential issues?
• Consider your own experience of artistic work that pulls your attention to different senses over time. What is the experience?
Interview with Dextro (optional)
• Dextro says that his systems include “complex reactions to the environment that [border] on life”. What are your thoughts on interacting systems that are designed to reflect “life” or “the physical world”? Art in general modeling this?
Eno: Reflection Visualizations