The Visible and the Invisible

Massimo Vito Avantaggiato
2019 Zenodo  
This paper is about the interaction of electroacoustic music with visual elements, (mostly) outside real-time hypothesis. The article focuses on works from the past to the present, showing the rich development that «audio-visual acousmatic composition» or, more generally, «multimedia or intermedia works (1)» had in about half a century: to describe this evolution, various authors are quoted for analytical purposes, from the past to younger generations: M. Adkins, M. Avantaggiato, M. Chion, F.
more » ... ato, M. Chion, F. Dhomont/Wickmann, H. Ishii, A.Ferreira/ Echeverry, A. Lewis, D. Raaijmakers, I. Drese, I. Xenakis/Fulchignoni, T. Grossi/Munari, J.P. Oliveira, and so on. Each paragraph of the present article tries to answer to the initial question: "Electroacoustic (Audio-visual) Music: is it still a form of experimental music?" moving from different points of view. All the examples indicated in the article show that electronic music allows an increase in the possibilities of communication of the music as it is thought, without further mediation by the interpreter, thanks to the novelty of keeping the original message of the composer intact.
doi:10.5281/zenodo.3714514 fatcat:5tn3jcnnfza6zkowswbv6wmqbq