The portfolio of pieces served to illustrate the ways in which I transposed my existing experience and knowledge of sonic composition on to studying the medium of video, leading to explorations into unfamiliar artistic territory. Each piece aimed to build and expand on previous research and compositional practice through an explorative and experimental approach intended to establish a practice of video composition. Although the initial premise
of de-emphasising the finite lattice of pitch and rhythm (Wishart, 1996) through video scores was unsuccessful, the change of direction towards composing video pieces allowed me to explore fresh territory for my compositional practice.
Applying key pieces of research into the perception of sensations and cross-modal perception
to the composition of video pieces to conjure non-cochlear sound
was the apex of my research. However, I acknowledge that the portfolio may not have been extensive enough to fully explore the composition of video pieces which conjure cross-modal perception or summon non-cochlear sound. Following up on the current research project with further exploration into the perception of sensations through continued research and composition may be essential. I intend to compose a series of video pieces to explore simplified and discrete rhythms using a limited number of hand shapes. Each piece will likely use an identical set of rhythmic phrases but feature contrasting visual material: one piece will aim to represent musical instruments through the hands and another will not. The exploration of disparate visual material within a single and identical rhythmic framework may lead to a taxonomy of visual stimuli. I also intend to enquire whether simplification of visual imagery would enable the viewer to more easily engage with the totality of the image, advancing my investigations into polyphony within the visual domain through cross-modal perception. Whether abstract imagery would function to increase or heighten the likelihood of cross-modal interactions taking place to produce non-cochlear sound would also need to be investigated.
Although further investigation into non-cochlear polyphonic compositions through the visual domain may require working with abstract imagery, the representation of musical instruments through hand shapes as seen in Apprentice
continues to hold my interest. Studying the way listeners associate changes in musical parameter to imagined motions of a human character may indicate that musical parameters could be related to imagined motions, including a link between the intensity of sound and motion (Eitan & Granot, 2006). Considering the research into sound and imagined motion along with the motormimetic sketching
(Godøy, Haga & Jensenius, 2006)
of air guitar
may provide other avenues for investigation. Studying aspects of dynamic range and pitch through visual stimuli, which lay beyond the scope of the current project, may be assisted through further research into perception and visualisation of imagined motion.
Locus will remain an important aspect for consideration of future pieces which may be constructed as polyptychs
or work with peripheral vision, but I may also likely explore the possibilities of composing pieces which exist online. Composing for internet-based digital spaces may allow me to curate my own galleries and exhibitions as separate to, or as an augmentation of, physical gallery spaces and presentations. This may be an important consideration as the pieces for the current portfolio currently exist online but were designed for physical spaces. I hope to learn more about video and musical composition and curation by composing pieces for physical and virtual spaces.