8.

Estado del Arte

Within the arts, the relationship between music and painting has been understood as one based on
the shared concerns of composition, proportional relationships, and harmonic ratios.

Pero no fue hasta el siglo XIX, con la subida de los estudios cientficos sobre el color, la ptica y la
percepcin de que la conexin entre los estmulos visuales y auditivos adquiri mayor moneda. A
raz de la investigacin realizada por cientficos y tericos como Joseph Plateau, Michel Eugne
Chevreul, y Ogden Rood, el dilogo entre la pintura y la msica comenz en serio.
En su ensayo 1902 "Pintura musical y la fusin de las Artes," Camille Mauclair postula una
correlacin entre las pinturas de Claude Monet y las composiciones musicales de Claude
Debussy, concluyendo que "croma, la armona, el valor, el tema, y adorno" son "empleado
igualmente por msicos y pintores."

En 1912 el crtico de arte britnico Roger Fry, l mismo un miembro del grupo de Bloomsbury,
acu el trmino msica visual para describir los trabajos abstractos del pintor ruso Wassily
Kandinsky.3 Como muchos artistas de el avant-garde, Kandinsky estaba interesado en
synesthesia- una rara enfermedad neurolgica que produce una fusin perceptual cruz-sensorial,
a menudo entre el color y sound.
Explor esta sntesis en pinturas, composiciones de etapa y escritos como lo espiritual en el arte
(1911) y "On Stage Composicin" (1912) 0.5 Para Kandinsky, un pianista entrenado y
violonchelista, el poder emocional de la msica servido de inspiracin para pinturas abstractas que
utilizan la lnea, la forma, el color y la forma de producir una concordancia entre musical y tonos
visuales (fig. 1).
Pintura Abstracta
Definir que es la pintura abstracta, su fundamento, los personajes y sus aportes al Diseo Grfico.

In Western thought, music, and in particular its attendant principles of proportion and harmony,
have informed an understanding of the world since antiquity. Within the arts, the relationship
between music and painting has been understood as one based on the shared concerns of
composition, proportional relationships, and harmonic ratios. But it was not until the nineteenth
centurywith the rise in scientific studies on color, optics, and perceptionthat the connection
between visual and auditory stimuli took on greater currency. In the wake of research by scientists
and theorists such as Joseph Plateau, Michel Eugne Chevreul, and Ogden Rood, the dialogue
between painting and music began in earnest. In his 1902 essay Musical Painting and the Fusion
of the Arts, Camille Mauclair posited a correlation between the paintings of Claude Monet and the
musical compositions of Claude Debussy, concluding that chroma, harmony, value, theme, [and]
motif are employed equally by musicians and painters.2 In 1912 the British art critic Roger Fry,
himself a member of the Bloomsbury group, coined the term visual music to describe the abstract
works of the Russian painter Wassily Kandinsky.3 Like many artists of the avant-garde, Kandinsky
was interested in synesthesia a rare neurological condition that produces a cross-sensory
perceptual fusion, often between color and sound.4 He explored this synthesis in paintings, stage
compositions, and writings such as Concerning the Spiritual in Art (1911) and On Stage
Composition (1912).5 For Kandinsky, a trained pianist and cellist, the emotional power of music
provided inspiration for abstract paintings that used line, shape, color, and form to produce a
concordance between musical and visual tones(fig. 1).
Music, as an inherently abstract form, provided a potent metaphor for artists of the avant-garde in
their search for an alternative to prevailing modes of representation. Among them were the Czech
painter Frantiek Kupka; Paul Klee, whose paintings have often been interpreted as graphic
transcriptions of musical rhythm; and Francis Picabia, who asserted that the rules of both painting
and music should be learned as follows: If we grasp without difficulty the meaning and the logic of
a musical work it is because this work is based on the laws of harmony and composition of which
we have either the acquired knowledge or the inherited knowledge . . . The laws of this new
convention [painting] have as yet been hardly formulated but they will become gradually more
defined, just as musical laws have become more defined, and they will very rapidly become as
understandable as were the objective representations of nature.6 For Piet Mondrian, the
improvisational attitude of jazz was particularly significant, and its influence i

s evident in the

dynamic rhythms and pulsating colors of Broadway Boogie Woogie (1942) (fig. 2).
Wassily Kandinsky, Composition 8 (Komposition 8), July 1923, oil on canvas, 55 79 inches.
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by
gift 37.262.
Page 18 - Visual Music Brian Eno.
The painter speaks of a note in a painting, and a musician of a tone picture. Colour Music Pag 16.

Dentro de las artes, la relacin entre la msica y la pintura se ha entendido como una basada en
las preocupaciones comunes de composicin, relaciones proporcionales, y proporciones
armnicas.
De la pintura al movimiento
While these painters invoked music as an important touchstone and created works that gave visual
form to its syncopations and staccato rhythms, they remained rooted in the static, two-dimensional
plane of easel painting. It wasnt until the latter half of the twentieth century that artists began to
engage more directly with real life in their challenge to the conventions of art making. Turning to
their bodies, the landscape, and everyday life to extend the parameters of aesthetic
experimentation, they radicalized the relationship between the artist, the art object, and the
audience. Page 18 - Visual Music Brian Eno.
Hablar del pintor Lopold Survage y su manifiesto del trabajo de la analogia de la msica: Libro
Historia del Cine Experimental pag 29 (pdf pag13)

Obras pintadas a mano producidas por los Futuristas Bruno Corra[2] y Arnaldo Ginna entre 1911 y
1912 (como informan en el Manifiesto Futurista de Cine), que ahora se ha perdido. Mary HallockGreenewalt produjo varios carretes de pelculas pintadas a mano (aunque no tradicionales film)
que se llev a cabo por la sociedad histrica de Filadelfia. Al igual que las pelculas futuristas, y
muchas otras pelculas de msica visual, sus 'pelculas' estaban destinadas a ser una
visualizacin de forma musical.
Cine Abstracto
El cine abstracto es un subgnero del cine experimental y como tal comenz a existir casi al
tiempo del cine comn. Se presenta como una oposicin al cine convencional que retrataba la
realidad ya que solo representaba una nocin o una relacin a una representacin completa.

Algunas de las primeras imgenes en movimiento abstracto que han sobrevivido son las
producidas por un grupo de artistas alemanes que trabajaran en los primeros aos de la dcada
de 1920, este movimiento se denominara como cine absoluto. Personas como Walter Ruttmann,
Hans Richter (artista), Viking Eggeling y Oskar Fischinger presentaran diferentes enfoques de la
abstraccin en movimiento: como una analgica a la msica, o como la creacin de un lenguaje
absoluto de la forma, un deseo comn a principios del arte abstracto. Ruttmann escribi de su
trabajo cinematogrfico como "pintura en el tiempo."
Still Optical Poe, Fischinger Oskar
Para la mayora de nosotros la msica sugiere imgenes mentales definidos de forma y color. La imagen que est a
punto de ver es una novela experimento cientfico su objeto es transmitir estas imgenes mentales en forma visual

Ms adelante entre se destacaran artistas como Robert Wiene, Fernand Lger y Dudley Murphy
(considerados como algunos de los pioneros del cine experimental ), Abel Gance, Orson Welles
entre muchos ms. Existe toda una tradicin de cine abstracto con la que habitualmente
identificamos el cine experimental. Comprende mayormente los trabajos de Walter Ruttmann,
Viking Eggeling, Oskar Fischinger, Len Lye, Harry Smith, John & James Whitney, Mary Ellen Bute,
Jordan Belson, Harry Smith, Hy Hirsh, Chris Larkee y Brbel Neubauer, entre muchos otros. Pero
de todos quizs el ms conocido es el trabajo de Norman McLaren.

These artists present different approaches to abstraction-in-motion: as an analogue to music, or as

the creation of an absolute language of form, a desire common to early abstract art. Ruttmann
wrote of his film work as 'painting in time.' They used rudimentary handicraft, techniques, and
language in their short motion pictures that refuted the reproduction of the natural world, instead,
focusing on light and form in the dimension of time, impossible to represent in static visual arts.
http://en.wikipedia.org/wiki/Absolute_film

Recursos del cine abstracto

Para lograr cualquier tipo de cambio de configuracin pueden usarse cambios de iluminacin,
deformacin de escenas u objetos, simbolismos y ms recientemente efectos por computadora.
En el cine normal, los casos que ms comnmente se plasman son las imgenes con un
significado figurativo o simblico, las transiciones entre imgenes que hacen que sepamos el
momento en que una escena ejemplifica una regresin, un sueo, la imaginacin o la muerte.
Algunas de las prcticas recurrentes en el cine abstracto son las siguientes, no existe una lista del
todo correcta ya que cada da se puede innovar en el campo de los filmes abstractos:
Deformacin del Objeto o el Espacio: Se toma algn cuerpo que puede ser transformado en
tamao y forma, dependiendo del cambio podramos encontrarnos con una alusin a la
pobreza (si el objeto empeora), a la jerarqua social (dependiendo del tamao del objeto) o
algunas otras formas. Es til recalcar que para que haya un punto de comparacin entre
cada deformacin debera de utilizarse el mismo recurso en varias ocasiones a lo largo del
filme. Tambin suele utilizarse una deformacin del espacio aunque es un caso usado en
menor proporcin.
Aislamiento del Objeto: Por este medio se llega a convertir a cualquier cuerpo en el objetivo
visible inmediato. Es decir, llevando a cabo una separacin que podra ser cambio en la

iluminacin, se podra enfocar algn ente que estuviese dentro de un escenario, el cual ya
no tendra valor porque ahora lo nico visible seria aquel objeto iluminado. Aunque lo
anterior puede tener significados muy distintos como tomar la parte como un todo, tambin
puede utilizarse para acentuar alguna situacin en especial.
Trucos pticos: En este caso se pueden incluir todos los cambios repentinos o paulatinos de
una imagen en pantalla. Es uno de los recursos ms utilizados tanto por su facilidad
(aumentada con el uso de la computadora), como tanto por su significado que puede tener
una gama infinita de implicaciones.
Dibujo en el filme: Este recurso implica el dibujo de formas sobre pantalla, puede tener a su
vez especiales significados dependiendo sobre todo en el color de las figuras y en lo que el
espectador "pudiera ver" de estas.
A menudo las abstracciones en el cine buscan cambiar una forma para variar el sentido, aunque
llegaran a mostrarse imgenes sin ningn significado obvio en escena, seran estas las que nos
llegaran a dar alguna sensacin o representacin con algn valor.
Lo anterior puede aplicarse en cualquier campo, en los guiones de los personajes, en las
caractersticas del reparto o incluso en los objetos a utilizarse dentro de un filme; sin embargo
muchos casos de abstraccin en el cine se han vuelto comunes en el cine regular.
La abstraccin se ha convertido en un hecho comn en cualquier filme aunque con el tiempo
haba cado en desuso la produccin de pelculas netamente abstractas, para principio de la
dcada de 1990 resurgi una nueva ola de filmes abstractos sustentndose en el cine
experimental que le ha dado un nuevo desarrollo.

Cine abstracto a los motion graphics: Estas grficas son el principio de la tcnica de animacin
digital Motion Graphics, traducido literalmente como grafismo en movimiento, la cual crea una
ilusin de movimiento mediante imgenes, fotografas, ttulos, colores y diseos.

Fluxus
In this burgeoning effort to rethink artistic practice during the late 1950s and early 1960s,
happenings and performance art came to the fore among a host of emerging forms that also
included Fluxus, an international collective of artists noted for its work across the disciplines of
visual arts, experimental film, literature, performance, and music. Fluxus mounted a critique of
individual authority by proclaiming, anything can be art and anyone can do it,7 rejecting the
boundaries between painting and sculpture, photography and film, in favor of a more fluid approach
that was quickly termed intermedial.8 It was against this backdrop that a young Brian Eno first
enrolled in art school and began his formal art education. Page 18 - Visual Music Brian Eno.s

Colour Music
In the late nineteenth century, a disparate group of artists, writers, and inventors coined the term
color music to describe an art form that was independent of the easel and made with colored lights.
The term referred to electromechanical devices, invented in the eighteenth century, that produced
sound accompanied by a visual representation. In 1725 the French Jesuit monk and
mathematician Louis Bertrand Castel illustrated his optical theories with a proposal for an ocular
harpsichord. The harpsichord had sixty small colored-glass panes, each with a curtain that opened
when a key was struck. Subsequently a long list of mathematicians, inventors, and scientists added
to the mediums development. In the early nineteenth century, the Scottish scientist and inventor Sir
David Brewster proposed the kaleidoscope as an instrument of visual music. More than half a
century later, Bainbridge Bishop, an American, designed and patented the first electromechanical
instrument that could synchronize colored lights with a musical performance.
The best known of the color instruments from this period was designed in 1893 by Alexander
Wallace Rimington, a British painter and professor at Queens College, London. Rimingtons color
organ was similar to a church organover ten feet high with a five-octave keyboard controlled by
conventional organ stops (fig. 51). The colors were played and altered through the use of a swell
pedal that controlled the brightness and created visual dissolves and fades.124 The first musician
to incorporate projected light with a full orchestra was the Russian composer and pianist Aleksandr
Nikolayevich Scriabin. Scriabin composed Prometheus: The Poem of Fire, a symphonic work for
piano, orchestra, optional choir, and color organ; it was a multimedia event using the color organ to
create a projected dramatic backdrop behind the orchestra, thus creating a visual parallel to the
music being performed.
At the time, a debate began to take place concerning the accuracy of, and the physical
associations between, the note played and the color simultaneously projected. The color and notes
varied widely from one machine to another, and providing any visual consistency during a
performance was nearly impossible.126 Because different colors were projected for the same
musical composition, musicians and designers began to distance themselves from instruments with
both sound and light, in favor of machines that projected only colored light. Many color-projection
instruments appeared during this time, but beginning in 1919 the Danish-born artist Thomas
Wilfred designed the most significant of these, which he called the Clavilux.
In 1952 Wilfreds work was included in the Museum of Modern Arts landmark exhibition 15
Americans, along with works by notable artists such as Mark Rothko, Clyfford Still, and Jackson
Pollock.132 In his catalog statement, Wilfred borrowed heavily from the language of modernist
painting, The Lumia artist visualizes his composition as a drama of moving form and color
unfolding in dark space. In order to share his vision with others he must materialize it. This he does
by executing it as a two-dimensional sequence projected on a flat white screen. . . .133 Despite
having his work collected by and exhibited at the Museum of Modern Art, Wilfred never gained the
kind of critical recognition that other artists of his generation received. His struggle to have his work

accepted into the mainstream is typical of artists whose work challenges convention, and the use
of technologyuntil recently perceived as the realm of the sciences and not the artsonly
exacerbated this struggle. Often marginalized as an art form, Lumia did not fit the narrow
constraints that defined art at the time. Brian Eno Visual Music Page 344

Instrumentos
Otros trabajos destacados se presentan a travs de instrumentos musicales que tienen como base
la relacin entre lo visual y lo sonoro.
Desde la antigedad los artistas han anelado crear con las luces en movimiento una msica para
el ojo comparable a los efectos del sonido para el odo
Dr. William Moritz, historiador ms conocido de "msica visual" escrito en ingls, en especial
sobre el trabajo de Oskar Fischinger.2
A veces tambin llamada "msica del color, " la historia de esta tradicin incluye muchos
experimentos con rgano colors. Artistas o inventores "construyeron instrumentos, usualmente
llamados 'rganos de color, que mostrara modulada de color claro en una especie de fluidode la
moda comparable a la msica."[1] Existen varias definiciones de la msica del color, una es que la
msica del color es la proyeccin generalmente sin forma de luz de colores. Algunos estudiosos
han intercambiado el trmino de msica del color por el de msica visual.
La construccin de instrumentos para realizar la msica visual en vivo, al igual que la msica
sonora, ha sido una constante preocupacin de este arte. rganos de color, mientras que estn
relacionados, forman una antigua tradicin que se extiende desde el siglo XVIII con el Jesuita
Louis Bertrand Castel con la construccin de un clavecin ocular en la dcada de 1730 (visitado por
Georg Philipp Telemann, fue l quien lo compuso). Otros artistas inventores incluyen a: Alexander
Wallace Rimington, Bainbridge Bishop, Thomas Wilfred, Charles Dockum and Mary HallockGreenewalt.
Color Organ
The term color organ refers to a tradition of mechanical (18th century), then electromechanical,
devices built to represent sound or to accompany music in a visual mediumby any number of
means. In the early 20th century, a silent color organ tradition (Lumia) developed. In the 1960s and
'70s, the term "color organ" became popularly associated with electronic devices that responded to
their music inputs with light shows[disambiguation needed]. The term "light organ" is increasingly
being used for these devices; allowing "color organ" to reassume its original meaning.
http://en.wikipedia.org/wiki/Color_organ
The Ocular Harpsichord of Louis-Bertrand Castel

Some inventions need never leave the drawing board and materialize in order to leave their marks
on the cultural environment. The ocular harpsichord of Louis- Bertrand Castel (1688-1757),
designed to produce a music of colours, certainly seems to have been such an invention. But
although a number of studies have been dedicated to the instrument.
http://www.tbm.tudelft.nl/fileadmin/Faculteit/TBM/Over_de_Faculteit/Afdelingen/Afdeling_Values_a
nd_Technology/sectie_filosofie/medewerkers/Maarten_Franssen/doc/OcuHarpsCastel.pdf
Clavilux - Thomas Wilfred
The cathode ray tube made possible the oscilloscope, un dispositivo electrnico que puede
producir im{agenes que son fcilmente asociadas con sonidos de audio de micrfonos. La
moderna pantalla de iluminacin laser es similar a las pantallas de patrones de onda producidas
por los circuitos. Las imgenes utilizadas para representar audio en estaciones de trabajo de audio
digital se basa en gran medida en los patrones familiares de osciloscopio.
La compaa Animusic (conocida originalmente como 'Msica Visual') ha demostrado en repetidas
ocasiones el uso de computadoras para convertir la msica; principalmente pop-rock con base y
compuesta como eventos MIDI; animaciones. Artistas grficos disearon instrumentos virtuales
que, o bien juegan a s mismos o se juegan por los objetos virtuales que son, junto con los sonidos
controlados por instrucciones MIDI.3

En el mbito de imagen a sonido, MetaSynth4 incluye una funcin que convierte las imgenes en
sonidos. La herramienta utiliza dibujos o imgenes de mapa de bits importados, que se pueden
manipular con las herramientas grficas, para generar nuevos sonidos o procesos de audio
existente. Una funcin inversa permite la creacin de imgenes a partir de sonidos.5
Algunos programas de software generan imgenes animadas o visualizacin de la msica basado
en una pieza de msica grabada:
autom@ted_VisualMusiC_ 4.0 proyectado y realizado por Sergio Maltagliati. Este programa
se puede configurar para crear mltiples variaciones visual-musicales aleatorios, a partir de
una clula sonoro/visual simple. Cada jugador genera una composicin audiovisual nueva
y original al hacer clic.
Lev Manovich
The avant-garde became materialized in a computer, Manovich postulates about the
technological shift. One general effect of the digital revolution is that avant-garde aesthetic
strategies came to be embedded in the commands and interface metaphors of computer software.
Manovich, Language of New Media, 15.
CYMATICS - Science Vs. Music - Nigel Stanford
Esta gente la encontr aqu: http://www.creativosonline.org/blog/de-musica-a-diseno-comotraducir-el-sonido-a-imagenes.html

http://nigelstanford.com/Cymatics/
Visual Music (Msica Visual)
Hay una variedad de definiciones de la msica visual, particularmente en el campo continuo en
expansin. En algunos escritos recientes, usualmente en los de obra de arte, msica visual se
confunde con definiciones como sinestesia, aunque histricamente sta nunca fue una definicin
de la msica visual. Tambin se ha definido como una forma de intermedia.

El concepto de Visual Music o Colour Music que se refiere al uso de estructuras musicales en
imaginarios visuales, o dispositivos que tienen un mtodo para transladar los sonidos o la Msica
a una emulacin o representacin visual o formal. Tambin ha hecho presencia en el cine y se ha
permeado con el cine abstracto.
"Msica visual" o "msica del color" hace referencia a las estructuras musicales traducidas en
imgenes visuales. Tambin se refiere a los mtodos que traducen los sonidos musicales en
representaciones visuales relacionadas.Una definicin ms amplia puede ser la traduccin de la
msica a la pintura; sta es la definicin original acuada por Roger Fry en 1912 para describir el
trabajo de Kandinsky.1

Msica visual hace referencia a los sistemas que convierten la msica y los sonidos en formas
visuales pero tambin se refiere a los sistemas que convierten la msica o el sonido directamente
en formas visuales, tales como pelculas, videos o computer graphics, por medio de un
instrumento mecnico, la interpretacin de un artista o un ordenador. Lo contrario tambin es
aplicable, convertir imgenes en sonidos dibujados por objetos y figuras de la banda sonora de
una pelcula, con una tcnica llamada dibujando o sonido grfico.

La historia de los filmes abstractos se mezcla a menudo con la historia de la msica visual.
La msica visual es aquella msica que por medios artsticos o computacionales es convertida a
su equivalente grfico artstico, es decir una pintura o mejor dicho una secuencia de pinturas que
reconvertida musicalmente obtendra una pieza igual a la original. Por lo anterior podemos deducir
que la msica visual es difcil de obtener e involucra sentimientos, psicologa y avanzados
estudios. Muchos crticos han llegado a tildar de falso e imposible poder realizar una
representacin visual de la msica aunque hoy por hoy cada vez se obtienen ms resultados.
En las pelculas abstractas se han llegado a utilizar piezas musicales, que combinados con
efectos visuales pudieran dar la impresin de una combinacin musical con alguna historia
contada simblicamente.

El Center for Visual Music en los ngeles tiene la mayor coleccin del mundo de los recursos
musicales visuales. El CVM tiene los papeles, pelculas y obra de arte de animacin de Oskar

Fischinger; la coleccin de la investigacin original del historiador de la msica visual Dr. William
Moritz; las pelculas de Jordan Belson; y una extensa coleccin de pelculas restauradas por Mary
Ellen Bute, John y James Whitney, Jules Engel, Charles Dockum y otros. CVM consultado y
proporcionado pelculas imgenes fijas y la investigacin para la exposicin Msica Visual antes
mencionada; CVM ahora ofrece pelculas musicales visuales para museos, archivos festivales y
centros culturales en todo el mundo, adems de la curadura y el desarrollo de sus propias
exposiciones en museos.

En 2005, una exposicin llamada "Msica Visual" en el Museo de Arte Contemporneo de los
Angeles y en el [[Museo Hirshhorn y Jard{in de Esculturas]] en Washington DC incluyen
documentacin de los rganos de color y muestran muchas pelculas de msica visual [3] y
videos, as como pinturas y algunos rganos de color.
Personajes destacados
Oskar Fischinger: An Optical Poem (1938)
Mary Ellen Bute: Synchromy no. 2 (1936), Synchromy No. 4- Escape (1938)
John Whitney

Norman McLaren: A Phantasy in Colors (1949), Dots (1940), Boogie Doodle (1940)

Norman McLaren, was a Scottish-born Canadian animator and film director known for his work for
the National Film Board of Canada (NFB).[1] He was a pioneer in a number of areas of animation
and filmmaking, including drawn-on-film animation, visual music, abstract film, pixilation and
graphical sound.[2][3]

Harry Everett Smith

Brian Eno
Brian Eno is renowned for his diverse career, including glam rock star, ambient music godfather,
champion of the experimental, producer to rock royalty, video artist, installation artist, sound artist,
pioneering crossover artist, committed politico and big thinker.
For more than forty years, Brian Eno has explored the complex relationship between light and
sound.

Hablar de la importancia de la academia para Brian Eno: en Groundcourse, Ipswich Civic

College, ca. 1965.

Eno estudi bajo la batuta del artista Roy Ascott
Hablar de su trabajo de color: COLOR CHANGE: EXPERIENCING LIGHT AS A PHYSICAL
PRESENCE --- Brian Eno Visual Music - Pag 133
El trabajo de proyeccin Natural Selections (Eclipses, Mutations, and Living Data), Tokyo,

Japan, 1990
El trabajo de escultura con luces
El trabajo de pintura con luces
Sus colaboraciones en Apps
Playing by the Rules
From early on, Eno was interested in rulesnot just breaking them. One set of rules came to be
codified as Oblique Strategies, which was published in several decks of cards23 with Peter
Schmidt,whom Eno found out had been developing a similar set of instructions.
Eno, especially post-1975 with the issue of Discreet Music and Music for Airports (1978), is
aiming to create an authentic experience in the listener generated by his aural landscapes similar
to the idea of the derive, but he is also beginning to use a set of rules to create these landscapes
(see Learning to Rule Complexity).
The contemporary scenius that Eno grew up in and out of, broadly speaking, was on the cusp of
what the French sociologists Alain Minc and Simon Nora referred to in 1978 as the
computerization of societythe rise and intersection of networks and computation, stating simply,
The applications of the computer have developed to such an extent that the economic and social
organization of our society and our way of life may well be transformed as a result.54 This
intersection has inarguably changed the world.
Through his music, his visual art, and his ideas, Eno has surfed this computerization of society and
surrendered himself to it. In doing so he has contributed enormously to defining it. Part of what he
foundand practicedis that the traditional notions of high art and fine art are not as useful as
they once were. The traditional sites for art activity seem to be losing their power, while new sites
for art are becoming powerful.55 It behooves us to learn from Eno.
If a painting is hanging on a wall where we live, we dont feel that were missing something by not
paying attention to it. . . . Yet with music and video, we still have the expectation of some kind of
drama. My music and videos do change, but they change slowly. And they change in such a way
that it doesnt matter if you miss a bit.123 Brian Eno

Trabajo destacado de Brian Eno: 77 Million Paintings

Where Sounds Become Visual and Visuals Become Sound
Like the artists, filmmakers, and lighting designers who came before him, Eno has established a
dialogue that repositions the relationship between sound and image. He is interested in the
convergence and blending of disciplines, media, and content. Eno has never looked to the
traditional art establishment for answers or approval but has instead turned to a wider set of
philosophical experiences, questions, and concerns to build on his thinking and working
methodology. He is part of a rich history of contemporary artists, writers, and thinkers whose ideas
add to the discourse on sensory perception. Using light, color, sound, movement, and physical
space, his work expands our experience of visual and auditory stimuli.
Enos videos, stand-alone works, installations, and environments reshape the audiences
relationship to music and visual experience. He refutes a traditional object-subject dialectic in favor
of an experiential condition: Art is a transaction between somebody and something rather than the
quality of an object. When we engage in this transaction we let down certain psychic defenses,
allow ourselves to become party to something that we dont completely understandan emotional
power or an intellectual power that we lose ourselves in.158 His works represent a nonnarrative,
nondiscursive mode of expression that transcends language. Throughout the decades, it has
stimulated an altered state of experience and questioned the role of the artist and the notion of
creativity.
Enos oeuvre is rooted in the relationship between a works physical manifestation and the
viewers perception. Ultimately, this dialogue compelled him to abandon the production of discrete
objects in favor of environments. They subtly reveal the complex interplay between individual
perception and artistic creation, as well as visual and auditory perception. Enos visual work has
paradigmatically reconfigured the boundaries between light, space, sound, and art, echoing his
accomplishments in experimental music. Both continue to evolve and prompt new thinking and
ideas.
As Eno himself says, One of the great breakthroughs of evolution theory is that you can start with
simple things and they will grow into complexity. Brian Eno - Visual Music - Page 362

Filmografa
Fantasia de Disney
An Optical Poem (1938)
Hans Richter - Rhythm.21
Viking Eggeling - Symphonie Diagonale (1924)-SD
Walter Ruttmann - Lichtspiel Opus 1,2,3,4 -The first abstract film screened publicly - 27 April 1921

The Orchestra (1990) - https://www.youtube.com/watch?v=la6FVvHRy4I

Star Guitar

Walter Rutman
Lichtspiel: Opus I (1921)
Lichtspiel: Opus II (1923)
Lichtspiel: Opus III (1924)
Lichtspiel: Opus IV (1925)

 Berlin: Die Sinfonie der Grostadt (1927) in collaboration with Alberto Cavalcanti
Melodie der Welt (1929)
Wochenende (1930) [an experimental film with sound only, no image]
In der Nacht (1931)
Oskar Fischinger

Stereo Film (Short) (1952)

Motion Painting No. 1 (Short) (1947)
Color Rhythm (Short) (1942)
Radio Dynamics (Short) (1942)
American March (Short) (1941)
An Optical Poem (Short) (uncredited) (1937)
Allegretto (Short) (1936)
Lichtkonzert No. 2 (Short) (1935)
Muratti privat (Short) (1935)
Komposition in Blau (Short) (1935)
A Play in Colors (Short) (1934)
Muratti greift ein (Short) (1934)
Rivers and Landscapes (Short) (1934)
Squares (Short) (1934)
A Quarter Hour of City Statistics (1933)
Kreise (Short) (1933)
Studie Nr .13 (Short) (1933)
Study No. 14 (Short) (1933)
Koloraturen (Short) (1932)

Absolute film is a film movement begun by a group of visionary artists in Germany in the 1920s:
Hans Richter, Walter Ruttmann, Oskar Fischinger and the Swede Viking Eggeling. Richter,
Ruttmann and Eggeling were painters; Fischinger was not.

Walter Ruttmann
Hans Richter
Oskar Fischinger
Jordan Belson
Mary Ellen Bute
Harry Smith
Hy Hirsh
John Whitney
Zbigniew Rybczyski
Stan Brakhage
Viking Eggeling
Norman McLaren
Len Lye
Wassily Kandinsky
Lazlo Moholy-Nagy
Fluxus?
Prometheus: The Poem of Fire - http://en.wikipedia.org/wiki/Prometheus:_The_Poem_of_Fire
Brian Eno
Star Guitar de Michel Gondry: http://www.michelgondry.com/?p=85 --http://en.wikipedia.org/wiki/Star_Guitar
Bicycle built for 2,000
Wes Anderson
Fantasia de Disney

8.1. Viking Eggeling

Viking Eggeling (21 October 1880, Lund 19 May 1925, Berlin) was a Swedish avant-

garde

artist and filmmaker connected to dadaism, Constructivism and Abstract art and was

one of the

pioneers in absolute film and visual music.[1] His 1924 film Diagonal-Symphonie is one of the
seminal abstract films in the history of experimental cinema. Obra Symphonie Diagonale (1921).
Viking Eggeling (7m28s, c1923). Source: AVI, 79mb. (sacado de
aqu:https://vimeo.com/42401347)
"Born in Sweden to a family of German origin, Viking Eggeling emigrated to Germany at the age of
17, where he became a bookkeeper, and studied art history as well as painting. From 1911 to 1915
he lived in Paris, then moved to Switzerland at the outbreak of World War I. In Zurich he became a
associated with the Dada movement, became a friend of Hans Richter, Jean Arp, Tristan Tzara,
and Marcel Janco. With the end of the Great War he moved to Germany with Richter where both
explored the depiction of movement, first in scroll drawings and then on film. In 1922 Eggeling
bought a motion picture camera, and working without Richter, sought to create a new kind of
cinema. Axel Olson, a young Swedish painter, wrote to his parents in 1922 that Eggeling was
working to evolve a musical-cubistic style of filmcompletely divorced from the naturalistic style.
In 1923 he showed a now lost, 10 minute film based on an earlier scroll titled Horizontal-vertical
Orchestra. In the summer of 1923 he began work on Symphonie Diagonale. Paper cut-outs and
then tin foil figures were photographed a frame at a time. Completed in 1924, the film was shown
for the first time (privately) on November 5. On May 3, 1925 it was presented to the public in
Germany; sixteen days later Eggeling died in Berlin." (Louise OKonor, Viking Eggeling 18801925)
"While he was working on Symphonie Diagonale, Eggeling was evolving a theory based on his film
experiments and his studies of form and colour. He called his theory Eidodynamik [visual
dynamics]. Little is kown about it, but the fundamental principle was the projection of coloured
lights against the sky to bear the elements of form." (Jennifer Valcke, Static Films and Moving
Pictures: Montage in Avant-Garde Photography and Film, p172)

Len Lye
Leonard Charles Huia "Len" Lye (/la/; 5 July 1901 15 May 1980), was a Christchurch, New
Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are
held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern
Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's
sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of
Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a
naturalized citizen of the United States in 1950, much of his work went to New Zealand after his
death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.

Jordan Belson
Buscar este film: ALLURES (1961)
The experimental filmmaker Jordan Belson began as a painter but became inspired to make
abstract films while attending the influential Art in Cinema screenings at what was then the San
Francisco Museum of Art, where he watched films by Norman McLaren, Hans Richter, and Oskar
Fischinger.144 Belson created more than thirty nonobjective films between the late 1940 and 2005,
sometimes called cinematic paintings (fig. 59).145 In 1957 he began to collaborate with the
American sound artist Henry Jacobs on a series of electronic music concerts accompanied by
lavish visual projections at the Morrison Planetarium in San Francisco.146 Belson took
responsibility for the imagery, as the visual director for what would become the infamous Vortex
concerts. Bringing together electronic music with abstract images in an immersive environment, the
concerts proved hugely popular, drawing hundreds of people. The Vortex program notes capture
the experience, The nameVortexis derived from the ability to move the sound around the
dome in either clockwise or counterclockwise rotation, at any speed. . . . This is not a stereophonic
sound but an entirely new aural experience.147 Belsons films and the theatrical environments that
he created with Jacobs are important in the context of Enos 77 Million Paintings because they
represent some of the first attempts to integrate sound and visuals as an immersive experience.