Digital Media Art Project: The Musicality of Drawing
The concept “Musicality of Drawing” explores how to express music using hybrid immersive drawings, and how visitors perceive the musicality of a spherical perspective. A/r/cographic recap: within the previous entries, I completed the following steps of the a/r/cographic methodology: Inspiration, in this and this article Trigger Intention The next definition is concept, for which I developed a first part here. Hence, the aim of this entry is to complete such a development: Background Methodological definitions Previous artistic experiences Musicality Here and now The Musicality of Drawing Conclusion References Musicality of Drawing – Drawing at the Godot Art Bistrot during the concert of Mary Ocher © Lufo Art, 2017 Background Firstly, and according to the previous entry, the definition of the concept should consider, first, methodological definitions, and second, previous artistic experiences. Therefore, let’s try to develop a bit further these two points, so to understand their connection with the concept. Methodological definitions Within the module MIPA (Metodologia de Investigação e Produção Artística) of the DMAD PhD program, I developed a short article. I called that article “Definiciones metodológicas para una investigación basada en la práctica artística con Modelos Híbridos Inmersivos” (in English: “Methodological definitions for practice-based research with Immersive Hybrid Models”). You can peek the essay right below this paragraph or download it here. In that article, I explained a couple of useful things that structure the methodological approach. For example, I talked about the connection of the current digital media art project with a previous ongoing research. In that regard, the previous research developed the so-called “Hybrid Immersive Models” (HIM) and their application using the cubical perspective (Olivero, 2021). Furthermore, I also considered the advantages and disadvantages of following the already known approaches for social and natural sciences, i.e., the positivist and the interpretative approaches. Also, I summarised how these more classical approaches do not fully fit for an art-practice based research. Indeed, the art-practice based research field has developed in the last years its own methodologies (Sullivan, 2005). Within them, Patricia Leavy (2020) structured some criteria for understanding if an approach is valid or not, from which I rescued strategic points to consider, such as Question-method Fit, Translation, Holistic Approach, Data Analysis, Usefulness, Audience Response, Artfulness and Multiple Meanings. Previous artistic experiences On the other hand, this second part is connected with the real situations that I have dealt with as an artist. Indeed, as explained within this entry I gathered experiences and important reference points while creating handmade VR drawings in equirectangular format and listening to live music. Therefore, the concept should consider these aspects from a more focused point of view: when I had those experiences I was not really aware about what I was doing. So, I would like to explore them specifically now: how do I see music? What is the effect of music on my graphical output? Do I have a sound/graphic alphabet? How does a HIM collaborate on expressing that connection? Musicality According to Düchting (2013), one of the strongest elements stimulating Kandinsky’s artistic sensibility was music. For example, he had a strong visual experience during the representation of the opera “Lohengrin” of Wagner: “I felt that I had all my colours in front of me. Disorderly and almost absurd lines were forming in front of me” (p.10). Thanks to his synaesthetic ability, Kandinsky perceived the power of music and at the same time sensed the forces of painting, which had yet to be discovered. The relationship between colours and sounds, which for him was not only supposed but actually existed, captivated him to such an extent that this secret correspondence of the arts became one of the pillars of his artistic convictions, even the starting point of his painting (Düchting, 2013, p.10). Now, when I look back to my own experience in 2017, I notice that the visual expression on my drawings is not connected in the same way with “what was happening” while I drew them. CamposGodot (left) Lo Schifo Moop (right) © Lufo Art 2017