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My work fuses the raw material of music into visual, emotional and intellectual forms by drawing with cut paper, shaping and layering positive and negative space into rhythms. The paper is meticulously cut and composed, opened and closed, with a focus on creating lines that specify coherent patterns of light and shadows on a grid, forming a visual musical structure. In essence, the paper itself becomes the instrument that draws light into visual musical patterns.

The Song Books by the sound artist Rolf Julius (born in 1939) consist of several bound sheets of Japanese paper, of which each sheet is marked by a different kind of spot.[1] These red or black spots are prints of the processed photographs of color pigment clusters. Julius had already used these types of pigment clusters in earlier sound art installations, combining them with different sounds. There were similar sheets in his Piano Piece No. 1 (1998), whose title indicates that they can be performed musically.[2] It would hardly be possible to detect this solely on the basis of their visual form. According to Erhard Karkoschka, Julius's musical graphics can therefore be classified as pure musical graphics, that is, as musical graphics without a staff.[3] It must above all be stressed that musical graphics constitute individual solutions to problems with notation as perceived by an artist, and therefore stand out due to their different relationship to conventional notation. When interpreting musical graphics with so few parameters, which is the case for the Song Books, the performers have to develop a convincing translation for the ambiguous parameters. In the Song Books, the repetition of a similar form-in this case, the various spots-directs the performer's gaze toward minimal differences, such as the different sizes or fraying of the spots,[4] which are then translated into sound.

"Center for Visual Music is a nonprofit film archive dedicated to visual music, experimental animation and avant-garde media. CVM is commited to preservation, curation, education, scholarship, and dissemination of the film, performances and other media of this tradition, together with related historical documentation and artwork."

"What is "sound art"? Should we define it within the context of experimental music or the visual arts or both? While the term first came into being in the 1980s, sound in the visual arts has a far longer history, ranging from Modernist experiments with synesthesia to the avant-garde exploits of Dada and Futurism. Sound art also has a distinctly musical heritage, emerging from the compositional experiments of John Cage, Tony Conrad, La Monte Young, Maryanne Amacher, and Pauline Oliveros, among others. This conversation will serve as the keynote to an all-day interdisciplinary conference on sound art and experimental music."

"The dream of creating a visual music comparable to auditory music found its fulfillment in animated abstract films by artists such as Oskar Fischinger, Len Lye and Norman McLaren; but long before them, many people built instruments, usually called "color organs," that would display modulated colored light in some kind of fluid fashion comparable to music."

"As museums continue to search for new ways to attract visitors, recent trends within museum practice have focused on providing audiences with multisensory experiences. Books such as 2014's The Multisensory Museum present preliminary strategies by which museums might help visitors engage with collections using senses beyond the visual. In this article, an overview of the multisensory roots of museum display and an exploration of the shifting definition of 'object' leads to a discussion of Pierre Schaeffer's musical term objet sonore - the 'sound object', which has traditionally stood for recorded sounds on magnetic tape used as source material for electroacoustic musical composition. A problematic term within sound studies, this article proposes a revised definition of 'sound object', shifting it from experimental music into the realm of the author's own experimental curatorial practice of establishing The Museum of Portable Sound, an institution dedicated to the collection and display of sounds as cultural objects. Utilising Brian Kane's critique of Schaeffer, Christoph Cox and Casey O'Callaghan's thoughts on sonic materialism, Dan Novak and Matt Sakakeeny's anthropological approach to sound theory, and art historian Alexander Nagel's thoughts on the origins of art forgery, this article presents a new working definition of the sound object as a museological (rather than a musical) concept."

"Visual Record: The Materiality of Sound in Print investigates how artists since the 1970s have employed print-based processes to examine the relationship between sound and its visual representation. The exhibition features 15 artists, including Terry Adkins, John Cage, Bethany Collins, Christian Marclay, Glenn Ligon, Dario Robleto, and Audra Wolowiec, among others. "

"Cube with Magic Ribbons is a computer visual and synthesised sound composition for live performance. The piece takes its title from a drawing of M.C.Escher which is rich with contradictory perspectives but it is also inspired by the wrapped spaces found in the two dimensional graphics of early computer games such as Asteroids and Pac-Man. It was created using a custom visual sequencer SoundCircuit, which rather than employing a conventional DAW layout, allows multiple virtual tape-heads to travel through a two-dimensional wrapped space along tracks that can be freely inter-connected. As the tape-heads travel through the resultant network, the topological layout of the tracks comes to directly influence the macro form of the music. Furthermore, as the piece unfolds the nature of this already confusing space reveals itself to be increasingly elastic and complex, yet inexorably intertwined with the musical form."

"Becky Buckle explores the history of artists concealing visuals within the waveforms of their music"

"To engage with the notion of musicality in Agnes Martin's work, Pace Live presented performances by the musician Laraaji and members of the group Gang Gang Dance amid the recent exhibition Agnes Martin: The Distillation of Color in New York. The performances highlighted the ways that the legacies of Martin's distinct visual language and philosophies about art making have touched some of the most innovative musical artists working today."

"Digital Sanctuaries, Manhattan is an urban soundwalk combining the original music of Electric Kulintang (Susie Ibarra and Roberto Rodriguez) with the visual art of Makoto Fujimura and interaction design by Shankari Murali. Built for both IOS and mobile web app, Digital Sanctuaries invites the public to alight on a virtual pilgrimage through the built environment of a cityscape, finding meditative spaces in unexpected places, marked by an ever-changing musical score. As the audience engages with the music in each place, they are encouraged to discover the hidden qualities of the world without while taking time to contemplate the world within."

"How do you play a picture? Composers and artists from John Cage to Brian Eno have experimented with notation to create extraordinary visual scores that rival the best contemporary art. Here, Notations21's Theresa Sauer introduces a selection of her favourites. "

"The "Sonògraf" is an electronic audiovisual instrument. Thought as a music learning tool for primary schools, it allows the drawing to be transformed into music, turning gestural strokes and geometric figures into electronic sounds. A set of buttons and potentiometers allow live manipulation of the "sonification" characteristics of the drawing, making it possible to speed up, slow down or pause the resulting music, as well as decide its scales and tonalities."

"Max Cooper is not your average electronic producer. With a PHD in Computational Biology, Max is what we like to call an Audio-Visual Scientist. Through his work he tries to bridge the gap, or reinforce the deep-seeded relationship between science, art and music. A look through his work and you realize how successful he has been. "

"Overlaying a map with the sheet music for London Bridge is Falling Down, Scanner walked through London and made audio recordings on a Digital Audio Tape (DAT) machine and took digital photographs at the points where the musical notes fell on the map. The visual images were fed into a computer and translated into sound which Scanner mixed live with the DAT recordings."

"Music sketch diary. Prototyping. Generate music and synthesizers by sketching wavetables and scores."

""Sound design is the main contributing factor to the mood and atmosphere of any film," Charlie Battin wrote in a 2015 piece for the BFI Film Academy. "The visuals are what the viewer tends to mostly focus on and the sound subconsciously alters how the visuals are perceived.""

"Sound As Color converts audible frequencies to the visible spectrum, using color, brightness, and size to represent frequency and amplitude. The result allows listeners to enhance their sensory experience of music by "seeing" a visually appealing range of sound. This piece was shortlisted for the Kantar Information is Beautiful Awards 2017. 2017 "

"Sound As Color converts audible frequencies to the visible spectrum, using color, brightness, and size to represent frequency and amplitude. The result allows listeners to enhance their sensory experience of music by "seeing" a visually appealing range of sound. This piece was shortlisted for the Kantar Information is Beautiful Awards 2017. 2017 "