Composing Holochoric Visual Music: Interdisciplinary Matrices

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dc.contributor.authorRhoades, Michael Jewellen
dc.contributor.committeechairDuer, Zachary R.en
dc.contributor.committeememberNichols, Charles S.en
dc.contributor.committeememberTucker, Thomas J.en
dc.contributor.committeememberPolys, Nicholas F.en
dc.contributor.committeememberLee, Sang Wonen
dc.contributor.departmentHuman Developmenten
dc.date.accessioned2021-02-02T09:00:26Zen
dc.date.available2021-02-02T09:00:26Zen
dc.date.issued2021-02-01en
dc.description.abstractWith a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions. Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach. Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability. This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.en
dc.description.abstractgeneralIn this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays.en
dc.description.degreeDoctor of Philosophyen
dc.format.mediumETDen
dc.identifier.othervt_gsexam:27645en
dc.identifier.urihttp://hdl.handle.net/10919/102159en
dc.publisherVirginia Techen
dc.rightsIn Copyrighten
dc.rights.urihttp://rightsstatements.org/vocab/InC/1.0/en
dc.subjectVisual Arten
dc.subjectMusicen
dc.subjectComputer Scienceen
dc.subjectHolographyen
dc.subjectHolophonyen
dc.subjectExtended Realityen
dc.subjectAugmented Realityen
dc.subjectVirtual Realityen
dc.subjectAlgorithmic Compositionen
dc.subjectAleatoricen
dc.subjectCsounden
dc.subjectMayaen
dc.subjectMAXen
dc.subjectHead-Mounted Displayen
dc.subjectARen
dc.subjectVRen
dc.subjectXRen
dc.subjectHigh-Performance Computingen
dc.subjectClusteringen
dc.titleComposing Holochoric Visual Music: Interdisciplinary Matricesen
dc.typeDissertationen
thesis.degree.disciplineIndividual Interdisciplinary PhDen
thesis.degree.grantorVirginia Polytechnic Institute and State Universityen
thesis.degree.leveldoctoralen
thesis.degree.nameDoctor of Philosophyen

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