| dc.description.abstract | The ʻaudiovisual objectʼ is a fusion of sound object and visual object to create an
identifiable perceptual phenomenon, which can be treated as a ʻbuilding blockʼ in the
creation of audiovisual work based primarily on electroacoustic composition practice
and techniques. This thesis explores how the audiovisual object can be defined and
identified in existing works, and offers an examination of how it can be used as a
compositional tool. The historical development of the form and the effect of the
performance venue on audience immersion is also explored.
The audiovisual object concept builds upon theories of electroacoustic composition
and film sound design. The audiovisual object is defined in relation to existing
concepts of the sound object and visual object, while synaesthesia and cross-modal
perception are examined to show how the relationship between sound and vision in
the audiovisual object can be strengthened.
Electroacoustic composition and animation both developed through technological
advances, either the manipulation of recorded sounds, or the manipulation of
drawn/photographed objects. The key stages in development of techniques and
theories in both disciplines are examined and compared against each other,
highlighting correlations and contrasts.
The physical space where the audiovisual composition is performed also has a
bearing on how the work is perceived and received. Current standard performance
spaces include acousmatic concert systems, which emphasize the audio aspect over
the visual, and the cinema, which focuses on the visual. Spaces which afford a much
higher level of envelopment in the work include hemispheric projection, while
individual experience through virtual reality systems could become a key platform.
The key elements of the audiovisual object, interaction between objects and their
successful use in audiovisual compositions are also investigated in a series of case
studies. Specific audiovisual works are examined to highlight techniques to create
successful audiovisual objects and interactions.
As this research degree is in creative practice, a portfolio of 4 composed works is
also included, with production notes explaining the inspiration behind and
symbolism within each work, along with the practical techniques employed in their
creation. The basis for each work is a short electroacoustic composition which has
then been developed with abstract 3D CGI animation into an audiovisual
composition, demonstrating the development of my own practice as well as
exploring the concept of the audiovisual object.
The concept of the audiovisual object draws together existing theories concerning the
sound object, visual perception, and phenomenology. The concept, the associated
investigation of how audiovisual compositions have evolved over time, and the
analysis and critique of case studies based on this central concept contribute both
theory and creative practice principles to this form of artistic creativity. This thesis
forms a basis for approaching the creative process both as a creator and critic, and
opens up a research pathway for further investigation. | en |
