Websites
INTRODUCTION
• Friedlander P., What is Visual Music?, 1998
• Ox J., and Keefer C., On Curating Recent Digital Abstract Visual Music, Center for Visual Music, 2006-08
I. HISTORY
1. The Beginnings
• colorsystem
• Colour Music Light, The Strand Archive, 1991
• Musica per gli occhi. Immagini per gli orecchi
2. Music and Early Twentieth-Century Painting
• Colour Music in Australia: De-mystifying De Maistre
• Joseph C., After 391: Picabia’s early multimedia experiments, 2008
• Rothman R. I., “Between Music and the Machine: Francis Picabia and the End of Abstraction,” tout-fait, Vol. 2, 4, 2002
3. Luminous Instruments
• Baranoff-Rossine W., Optophonic Piano
• Bird J., and Di Paolo E., Gordon Pask and His Maverick Machines, University of Sussex, Brighton, UK, 2009
• “Birth of Music Visualization,” Modern Mechanix, 1924
• Carosone P., Audiokinetic Works
• colorgan
• Collopy F., Pioneers, RhythmicLight, 2004
• “Flashlight Beams Make Music On Photo-Electric Marimba,” Modern Mechanix, 1935
• Holzer, D., Tonewheels, UMATIC, 2010
• Jewansky J. Color – Light – Music: Synesthesia and Colorlight Music, 2008
• Keefer C., “Space Light Art” – Early Abstract Cinema and Multimedia, 1900-1959, in Edmonds E., and Stubbs M. (eds.), White Noise, Exhibition Catalogue, Melbourne, Vic.: Australian Center for the Moving Image, 2005
• Laserium
• Lumia Grande
• Mary Elizabeth Hallock Greenewalt papers, Philadelphia: The Historical Society of Pennsylvania, 2008
• Moritz W., “The Dream of Color Music, And Machines That Made it Possible,” Animation World Network, 1997
• “‘Musiclite’ Invention Plays Piano Notes in Color Tones,” Modern Mechanix, 1931
• “New ‘Light Piano’ Using Photo Electric Cells Creates All Musical Sounds,” Modern Mechanix, 1931
• “Odd Designs on Film Turn to Music,” Modern Mechanix, 1933
• “Organ Creates Photocell Music,” Modern Mechanix, 1934
• Schöffer N., Sonic and Visual Structures: Theory and Experiment
• “Seeing Music In Colors,” Modern Mechanix, 1915
• “The ‘Telecolor’ Translates Music Into Light,” Modern Mechanix, 1931
• West of Center – Interview with Michael Scroggins, Single Wing Turquoise Bird, YouTube, 2011
• The World’s Largest List of Psychedelic Lightshows
• Yamane C., Sharing Images through the Haptic Sense: The Theory of Hirschfeld-Mack’s Color-Light-Play, Centre for Advanced Research on Logic and Sensibility, Keio University
4. Abstract Films
• Articulated Light – The Emergence of Abstract Film in America, Harvard Film Archive, 1974-79
• Brakhage M., On Stan Brackage and Visual Music, Vantage Point, 2008
• Camper F., A Review of Stan Brakhage’s Last Films, 2003
• Collopy F., Pioneers, RhythmicLight, 2004
• Corra B., Abstract Cinema – Chromatic Music
• Della Marina A., Il rapporto suono-colore nella metodologia di Luigi Veronesi
• Elder R. B., “Hans Richter and Viking Eggeling: The Dream of Universal Language and the Birth of The Absolute Film”
• Engel J., Experimental Animation – The Joy of Movement, Center for Visual Music
• Engel J., Reflections: Graphic Choreography, New Magazine, vol. 10
• Haller R. A., Jim Davis: Visions of Convergence, Anthology Film Archives, New York, 1998
• James Whitney Retrospective, Canadian International Animation Festival, Toronto, 1984
• Jim Davis: Motion, Color, Light, Film
• Jordan R., “Brakhage’s Silent Legacy for Sound Cinema,” Off Screen, 2003
• Lapowsky B. F., “Oscillons: Electronic Abstractions,” Atari Archives, 1975
• Moritz W., “Digital Harmony: The Life of John Whitney, Computer Animation Pioneer,” Animation World Network, 1997
• Moritz W., “Jordan Belson: Last of the Great Masters,” Animation Journal, 1999
• Oskar Fischinger Biography, 2006
• PoliCardo, Ginna e Corra, 2006
• Richter H., “Easel—Scroll—Film,” Magazine of Art, 1952
• Rubin H. E., and Katz E., “Auroratone Films for the Treatment of Psychotic Depressions in an Army General Hospital,” 1946
• Stehura J., Home Page for a Cybernetic Cinema
• Tan Y., The Unknown Art of Jordan Belson,” Animation Journal, 1999
5. Music and Abstract Art
• Cymatics
• Hearing Varèse’s Poème Électronique inside a virtual Philips Pavillion, Eleventh Meeting of the International Conference on Auditory Display, Limerick, Ireland, 2005
• Holzer D., “Tonewheels,” Umatic, 2010
• Spinello B., “On Sound and Image as a Single Entity,” Off Screen, 2007
6. Electronic Art
• Bainbridge, B. An interview with Carol Goss and Walter Wright, 1998
• Dream House: Sound and Light Environment
• Film Image/Electronic Image: The Construction of Abstraction, 1960–1990
• Gigliotti D., “The Annotated Video Exhibition List (1963–1975),” The Early Video Project
• Goss C., Driven To Abstraction, Improvart, 1998
• Hagen C., and Kite L., “Walter Wright and his amazing video machine,” Afterimage, 1975
• Rosebush J., Interview with Jud Yalkut, 1972
• Spielmann Y., Video and Computer: The Aesthetics of Steina and Woody Vasulka, 1972
• The Pepsi Pavilion: Laboratory for Social Experimentation, Daniel Langlois Foundation, 2003
• Thompson S., Jud Yalkut: A Video Beachcomber, 2006
• Vasulka W., Aldo Tambellini, 1969
• Vasulka W., Bill Etra & Steve Rutt, 1973
• Vasulka W., Bill Hearn, 1969
• Vasulka W., Eric Siegel, 1971
• Yalkut J., Electronic Zen: The Alternative Video Generation Jud Yalkut Interviews Eric Siegel Television Is The Last Communication Link We Have To Change This Country, 1970
II. CONTEMPORARY DEVELOPMENTS
7. Animations and Videos
• Abstract Film Palimpsests – On the Work of Rey Parla
• Billy Roisz
• Edward Zajec, Digital Art Museum
• Fleischfilm
• Lillian F. Schwartz: TV-interviews
• Moritz W., “The Film Strip Tells All,” Animation World Network, 1998
• Putnam, L. J., The Harmonic Pattern Function: A Mathematical Model Integrating Synthesis of Sound and Graphical Patterns, University of California, Santa Barbara, 2012
• Putnam, L. J., sScale, 2004
• Richard Bailey
8. Installations
• Amorphoscapes
• Contact lenses with circuits, lights a possible platform for superhuman vision, 2008
• Fijuu2: a game-based audio-visual performance and composition engine, NIME 2007
• Generative Music
• Myron Krueger – Videoplace, Responsive Environment, 1972–1990s
• Plane Scape
• Synchronator
9. Performances
• Basmati
• Hyperion
• Guy Sherwin – Artist interview
• Interview: Mizuguchi Talks Rez HD, Wired, 2008
• Jones, R., A poetics of simulation for audiovisual performance, Computational Aesthetics, 2007
• Light Trap, Euro Mediterranean Arts, 2008
10. Language
• Kapuscinski, J., Basic Theory of Intermedia – Composing with Sounds and Images, 2001
• Lafrance A., How Brains See Music as Language, 2014
• Mado Proverbio A., D’Aniello G. E., Adorni R., and Zani A., “When a photograph can be heard: Vision activates the auditory cortex within 110 ms,” Nature, Scientific Reports, 1, 55, 2011
• Sedes A., Courribet B., and Thiébaut J.-B, From the visualization of sound to real-time sonification: different prototypes in the Max/MSP/Jitter environment, Université de Paris VIII – MSH Paris Nord, 2008
APPENDIX
Synesthesia
• Brang D., and Ramachandran V. S., “Survival of the Synesthesia Gene: Why Do People Hear Colors and Taste Words?,” PLoS Biology, 2011
• Cytowic R. A., “Music and the Brain: Wednesday is Indigo Blue: How Synesthesia Speaks to Creativity?,” Library of Congress, 2009
• Haverkamp M., Visualisation of synaesthetic experience during the early 20th century – an analytic approach, 2003
• Müller A., About my Synaesthesia…, 2006
• Synesthesia – Individual differences among grapheme-color synesthetes from different countries
• Synesthesia links and references
OTHER WEBSITES
Audiovisual Art Resources
• Daniel Langlois Foundation
• Experimental Television Center
• The iotaCenter
• LightCone
• Resonance
• UbuWeb
• Visual Music
• ZKM
