Begin forwarded message:
From: Leigh Landy <email@example.com>
Date: 15 December 2010 11:21:23 PM
Subject: OS call
Organised Sound: An International Journal of Music and Technology
Call for submissions
Volume 17, Number 2
Issue thematic title: Composing Motion: a Visual Music Retrospective
Date of Publication: August 2012
Publishers: Cambridge University Press
Issue co-ordinators: Margaret Schedel, Stony Brook University (firstname.lastname@example.org <mailto:email@example.com> ) and Nick Fox-Gieg, York University (firstname.lastname@example.org <mailto:email@example.com> )
Visual music holds an important place at the cutting edge of todayâ€™s art, but as a term it has been with us for almost a century. In 1912, art critic Roger Fry coined the term â€œvisual musicâ€ in an attempt to describe Kandinskyâ€™s paintings, generally recognised to be the first purely abstract canvases. Connecting Kandinskyâ€™s non-representational art to the abstract nature of music was a way to explain and interpret this new art form. Today, the concept of visual music refers to visuals â€œcomposed and presented with aesthetic strategies and procedures similar to those employed in the composing or performance of musicâ€1. Examples include abstract silent films music, works using manual, mechanical, or algorithmic means of transcoding sound to image, and even pieces which translate image into sound. Visual music has also come to refer to a cross-disciplinary practice, which originated in cinema in the 1930s through the work of filmmakers including Oskar Fischinger, Mary Ellen Bute, and Len Lye. By the 1950s a new generation of animators, including Norman McLaren, began the now commonplace practice of merging the roles of composer and filmmaker by creating sophisticated soundtracks to accompany their images. In the twenty-first century artists can finally perform visuals, whether frame-by-frame or in real time, with the same nuanced control that musicians have had for thousands of years.
Artists and musicians thought to be synaesthetes, such as Kandinsky and Scriabin, have played an important role in the development of visual music. Perhaps this is why the ability to create art that mimics the involuntary and instant synaesthetic experience in real-time has long been a paramount goal for many practitioners. While standout individual accomplishments of visual music performance occurred in the analog era, formidable economic barriers limited its development. The recent availability of inexpensive computer technology has allowed audio-visual performance practices, including improvisation, to become widespread, creating a vibrant community of musicians and filmmakers who constantly develop the field.
As animation historian William Moritz wrote, â€œSince ancient times artists have longed to create with moving lights a music for the eye comparable to the effects of sound for the ear. If they were less successful than composers of auditory music, the sole reason rests in the fact that light is harder to manipulate than airâ€2. The accessibility and adaptability of todayâ€™s visual music technology makes it possible for us to take the artistic possibilities of earlier analog efforts, such as â€˜colour organsâ€™, out of the museum and put them in the hands of millions of people.
The language of electroacoustic music is particularly suited for the abstract imagery of visual music. If music is organised sound then visual music is organised image. Just as sound art â€œcan no longer be confined to the organisation of notesâ€3 visual music needs to move beyond a vocabulary developed for static images and instead shift to a gestural language of time-based design. We hope this issue will encourage scholars from both the visual and sonic spheres who will draw upon the scholarship of experimental electroacoustic composition to create compelling investigations of any of the following topics:
Tension between sound and vision
Surveys and case studies regarding modern or historical visual music
Rhetorics for describing, analysing, and critiquing visual music
Ontologies of visual music, questions of medium-specificity and modernism
Synaesthesia and other cognitive approaches to the perception of visual music
Visual music as metaphor for intermedia/multimedia production
Visual music, experimental film, and classical film theory
Cantastoria, â€œlightning artists,â€ and the performance roots of animation
Artist and programmer collaboration then and now
Code as the â€œnew new mediaâ€
Innovations in procedural graphics and sound
Generative algorithms as â€œconceptualâ€ visual music
The rise of digital video, 1995â€“2005
New ideas in intermedia telematic collaboration
Kandinskyâ€™s Point and Line to Plane and other algorithmic approaches to visual music
Projection mapping in performance
As always, submissions related to the theme are encouraged; however, those that fall outside the scope of this theme are always welcome.
Deadline for submissions is 15 October 2011. Submissions may consist of papers, with optional supporting short compositions or excerpts, audio-visual documentation of performances and/or other aspects related to your submission that can be placed onto a DVD and the CUP website for â€œOrganised Soundâ€. Supporting audio and audio-visual material will be presented as part of the journal's annual DVD-ROM which will appear with issue 17/3 as well on the journalâ€™s website.
1 McDonnell, Maura. 2007. â€œVisual Music.â€ In the Visual Music Marathon Program brochure.
2 Moritz, William. 1986. â€œTowards an Aesthetics of Visual Music.â€ ASIFA Canada Bulletin, Vol. 14:3, Montreal.
3 Wishart, Trevor. 1996. On Sonic Art. Amsterdam: Overseas Publishers Association. Pg 7.
SUBMISSION DEADLINE: 15 October 2011
Notes for Contributors and further details can be obtained from the inside back cover of published issues of Organised Sound or at the following url:
(and download the pdf)
Properly formatted email submissions and general queries should be sent to: firstname.lastname@example.org, not to the guest editors.
Hard copy of articles and images (only when requested) and other material (e.g., sound and audio-visual files, etc.â€”normally max. 15â€™ sound files or 8â€™ movie files) should be submitted to:
Prof. Leigh Landy
De Montfort University
Leicester LE1 9BH, UK.
Editor: Leigh Landy
Associate Editors: Ross Kirk and Richard Orton
Regional Editors: Joel Chadabe, Lonce Wyse, Eduardo Miranda, JÃ¸ran Rudi,
Barry Truax, Ian Whalley, David Worrall
International Editorial Board: Marc Battier, Hannah Bosma, Alessandro
Cipriani, Simon Emmerson, , Kenneth Field, Rajmil Fischman, Rosemary
Mountain, Tony Myatt, Jean-Claude Risset, Margaret Schedel, Mary Simoni,