![]() ![]() Digital tools, processes and effects seem pre-designed to aurally simulate how visual perception grapples with abstraction, speed and density at this low threshold. When audio-visuality is championed for its radical potential, it has mostly been enabled by sound and/or music replicating these 60s concepts. Audiences so quickly resort to registering sensorial, synaesthetic and immersive effects when presented with a few abstract flashes fired off in rapid succession. ![]() Be it Jefferson Airplane’s Fillmore Ballroom lightshows or Ryoji Ikeda’s Armory Show installations, the human threshold is remarkably low for intaking sensory information. Media sociologists and media artists for the past half-century chime in chorus how assaultive and bombastic visual media can be-debilitating for the former liberating for the latter. Persistent 60s concepts describing visual media as phenomenally excessive. Accelerated Media & Aural Fatigue Death Race 3: Inferno published in Real Time No.117, Sydney, 2013 ![]()
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