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Which clippings match 'Colour And Music' keyword pg.1 of 2
04 AUGUST 2014

Eduardo Paolozzi: Turkische Musik, 1974

"Eduardo Paolozzi's work often, as in the Türkische Musik series, may be printed in different color schemes or on different papers. All these elements combine to suggest that the image is often discovered in the act of creating it; the artist's role is integrally balanced between active calculation and chance. No longer confined to a single plan, the artist–printmaker and his work signify an exciting new order of print– making, one in which technological expertise becomes a useful vehicle for personal expression."

(Georgette Lee, 1986)

Precision of Image: Technology in Printed Art : 20 April – 7 September, 1986, The Joe and Emily Lowe Art Gallery at Syracuse University in Syracuse.

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CONTRIBUTOR

Simon Perkins
17 FEBRUARY 2014

Norman McLaren's SYNCHROMY (1971)

"Here are pyrotechnics of the keyboard, but with only a camera to 'play the tune'. To make this film, Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track. These he then moved, in multicolor, onto the picture area of the screen so that, in effect, you see what you hear. It is synchronization of image and sound in the truest sense of the word."

(National Film Board of Canada)

Fig.1 Director: Norman McLaren; Year: 1971; Time: 7 mins; Music: Norman McLaren.

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TAGS

1971abstract animated filmabstract animation • audiovisual art • changing patterncolourcolour and music • coloured pattern • design formalismdirect filmelectronic musicexperimental music • image and sound • multicolour • musicalizes vision • National Film Board of CanadaNorman McLaren • novel optical techniques • optical composition • painted soundtrack • piano rhythms • picture area • pure abstractionsoundtracksymbiosissynaesthesia • Synchromy (1971) • synchronisationtangible sequencervisual abstractionvisual musicvisual pattern

CONTRIBUTOR

Simon Perkins
17 FEBRUARY 2014

Jazzimation: visual abstraction gracefully animated to music

"A jazzy film in which the spectator is forced to look with the ears and listen with the eyes. An abstract film drawn directly on the computer.

Een jazzy film waarbij de toeschouwer gedwongen wordt met oren te kijken en ogen te luisteren. Een abstracte film die de muziek verbeeldt."

Fig.1 Jazzimation (1999): Format / Format : 35 mm; Durée / Length : 5 min; Année / Year : 1999; Couleur / Color : n/b / b/w; Réalisateurs / Directed by : Oerd van Cuijlenborg; Musique / Music : Jeroen van Vliet; Production / Production : Nederl. Inst. voor Animatiefilm; Pays / Countries : Pays–bas / The Netherlands.

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TAGS

19992D animation35mmabstract animated filmabstract animationanimated drawingchanging patterncolourcolour and musicdesign formalismDutch animationDutch design • jazz music • Jazzimation (1999) • Jeroen van Vliet • motion drawingmusic videoNetherlands • Oerd van Cuijlenborg • pianopure abstraction • Stichting Nederlands Instituut voor Animatiefilm (NIAf) • Ton Crone • trumpet • visual abstractionvisual patternvisual spectacle

CONTRIBUTOR

Simon Perkins
06 FEBRUARY 2014

Pierre Hébert: Around Perception (1968)

"Around Perception is a groundbreaking experiment on computer–based animation, consisting of 11 audiovisual events designed to baffle cognition and unrest comfortable notions of reality. Unlike most of his later films, Hébert chose not to collaborate with top–notch experimental musicians and created the soundtrack himself. In this, he followed a method also used by Norman McLaren: to scratch sound directly onto the film itself. The relation between sound and picture, however, is not as symbiotic as in McLaren's Synchromy: although there are organic reactions between the two domains, one is not a direct translation of the other. This, of course, need not be seen as a weakness. Indeed, with its fast–paced changes of color and geometrical patterns, and the employment of Columbia–like richly crafted electronic tones, Around Perception works as a tremendously hallucinatory exercise in trompe l'oeil (and l'oreille) techniques. Or, as stated by Hébert himself at the beginning of the film, an exercise 'for the mind and against the mind'."

(The Sound of Eye)

Fig.1 "Around Perception", Director: Pierre Hébert, Year: 1968, Time: 16 mins, Music: Pierre Hébert.

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CONTRIBUTOR

Simon Perkins
07 DECEMBER 2013

A history of colour organs and visual music

"'The early history of this art was driven by an interest in color. In the eighteenth century, a Jesuit priest, Louis Bertrand Castel, invented the first color organ. Others, including D.D. Jameson, Bainbridge Bishop, and A. Wallace Rimington, created color organs through the next century [2]."

(Maura McDonnell, 2002)

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TAGS

1730 • 1742 • 18th century • Alexander Scriabin • Alexander Wallace Rimington • amplitudeanalogue correspondence • Arnaldo Ginna • Audiovisual Environment Suite (AVES) • Bainbridge Bishop • Bruno Corra • clavecin oculaire • Clavilux • colourcolour and music • colour and sound • colour light • colour music • colour organ • colour tone • coloured light • coloured notes • compositioncorrelative analogue • D.D. Jameson • experimental instrument • experimental musical instrumentFernand Leger • Fred Callopy • Georg Telemann • GesamtkunstwerkGolan LevinHans Richter • harpsichord • Harry SmithhueinventionJames WhitneyJohn Whitneykeyboard • Lejf Marcussen • Len Lye • Leopold Survage • light organ • Louis Bertrand Castel • Luigi RussoloMan RayMarcel Duchamp • Mary Ellen Bute • Maura McDonnell • music historymusical instrumentNorman McLaren • Ocular Harpsichord • organOskar Fischinger • Paul Friedlander • piano style keyboard • pitch to hue • projected light • Prometheus (mythology) • rhythmiclight • Roy De Maistre • soundStan Brakhagesynaesthesia • synesthesia • Thomas Wilfred • timbre • tone colour • Viking Eggelingvisual music • Wallace Rimington • Walter Ruttmann • Wurlitzer

CONTRIBUTOR

Simon Perkins
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