30 Second Animation

This is my 30 second animation which I created in response to a piece of music. Because I wanted something different and to be a bit more creative I asked my Friend Jess who is on a Sound course to create a 30second piece of sound for me. I asked her to but some beats in it so that I could have some main parts to animate too and I was really happy with the outcome that she gave me as It was just what I was after. Even though this animation was simple It was what I wanted to do as I went with the sound and shows my animation reacting to it. I like the way the paint moves in and out to the music but yet suddenly jolters out when the beat comes in. I am pleased with my first animation that I have done to sound.

My graphic score


This is my graphic score that I done for my paper instrument. I quite enjoyed doing this as at first I didn’t know what a graphic score was but looking into it and doing one made me understand what they were. I decided to go for symbols that reminded me of the sounds that I was making. I think they have a good represent ion of the sounds I was making and with the different lines going up and down in amplitude I can look at it now and still know what sounds I did and how I did it.

Paper Instrument



So this is the paper instrument I made in our lecture. We were told to get a piece of paper and then create it into an instrument that we could make sounds with. I decided to make mine into an origami piece so that I could make each section into a different sound. Because we only had a piece of paper and no other materials I couldn’t cut and stick things back on so I decided to rip different sections and take things off then put things back on again. Once I had created this I then tested out how I could make the different sounds with each section. Some using my hands to flick and scrub at the paper and others blowing the pieces of paper. I think my instrument made some interesting sounds bearing in mind it was only a piece of paper!

Graphic Scores


A graphic score is a way in which a composer can compose a piece of music without using common music notation. It is the representation of music through the use of visual symbols.
The graphic score evolved in the 1950’s and composers often rely on graphic notation in experimental music, where the standard musical notation can be ineffective.

When using graphic scores, each instrument is assigned a different symbol, whether it be simple or complicated. These symbols are then put into to a graphic score with each separate symbol corresponding to a musical instrument.

A little quote from the lecture

So we were talking about how music could match any piece of work, it slots together like our minds put them together automatically. Even if the piece of music has nothing to do with what is visually playing, we see it and somehow put them both together like our minds are visually responding to the music for us.

ARP 2500

The ARP 2500 is a monophonic analog modular synthesiser created by Alan Robert Pearlman in 1970-1981, who was a American manufacturer of electronic musical instruments. It was equipped with a set of sliding matrix switches above each module. These were the primary method of interconnecting modules. There were also rows of 1/8″ miniphone jacks at the end of each row of matrix switches, to interconnect rows of switches. The main 2500 cabinet could hold 12 modules, and optional wing cabinets could each hold 6. The matrix switch interconnection scheme allowed any module’s output to connect to any other module’s input, unlike the patch cords of competitive units from Moog and Buchla which could obscure control knobs and associated markings, but it had the disadvantage of greater cross-talk.
Although the 2500 was a reliable and user-friendly machine, it was not very commercially successful. The 2500 most popular modules was packaged into a single, non-modular unit, the ARP 2600, which left out the matrix switching and more esoteric functions.

Clavilux 2000

Jonas Friedemann Hever created his own version of the Clavilux, the Clavilux 2000, which consisted of 3 parts, a digital piano with 88 keys and a midi output, a computer running a vvvv patch and a vertical projection above the keyboard.
For every note played on the keyboard a new visual element appears in a form of a stripe, which then changes its dimensions, positions and colour to the way the particular key was stroke.
The length and vertical position show the velocity, the stripes width reflects stye length of each note.
The colours give the viewer and listener an impression of the harmonic relations
Notes belonging to one specific tonality always get colors from one specific area of the color wheel. Therefore each key gets it’s own color scheme and “wrong” notes stand out in contrasting colors. The more different tonalities a piece has, the more colorful the visualization will be.

When researching into the Clavilux 2000 I found it really interesting. At first when I saw it working I thought it was a really interesting and beautiful way to show music in a visually inspiring way. Then when researching into it further I liked the way in which the lights where actually created as I thought it was just any random colour but its actually all programmed to make each note and tone a certain colour. I like the way in which the Clavilux shows us sound, as we normally just listen to it and create our own images to it in our heads, but with this we see the process of the sound as its being created. Watching how the lights react is visually beautiful we see a piece of art being created straight in front of us.


The Clavilux was a mechanical invention created by artist Thomas Wilfred. It was an invention that allowed the creation and performance of light art, which Wilfred called ‘Lumia’.
From Latin, Clavilux means “Light played by key.”
In 1919 Wilfred built his first Clavilux, Model A.
The name Clavilux was not widely adapted by other artists so was a term used closely with Wilfred and his mechanical vocabulary. The only other artist to build a Clavilux was a good friend of Wilfred’s, W. Christian Sidenius who built a theatre behind his home.
Wilfred also built 16 smaller home Clavilux models which he called Clavilux juniors.

Close Encounters of the Third Kind 1977



In this film by Steven Spielberg we see a scene where there is communication going on between the humans and the mother ship. They use sound and light to communicated using an ARP 2500,which is a monophonic analog modular synthesiser. I think this is a really nice way of sending a message and shows how light and sound can be used in productive way for communication. It reminded me a lot of morse code where they use symbols to translate into sounds which then translated into letters and words. I liked the way even though they couldn’t understand what they mothership was saying to them they communicated back using a piano to turn each key sound into a light showing on a big board to transmit the message back to them. The idea is different to what I have seen before in ET films before but works well with the Sci-fi genre and shows that sound can influence the picture as well as the other way round and how it can also be used in other ways than just for background noise.


Hauntology is an idea within the philosophy of history introduced by Jacques Derrida in his 1993 work Spectres of Marx. The word, a combination of the word haunt and the suffix -ology, deals with “the paradoxical state of the spectre, which is neither being nor non-being”.

The idea suggests that the present exists only with respect to the past, and that society after the end of history will begin to orient itself towards ideas and aesthetics that are thought of as rustic, bizarre or “old-timey”; that is, towards the “ghost” of the past. Derrida holds that because of this intellectual realignment, the end of history will be unsatisfactory and untenable.

The name and concept fundamentally come from Marx’s assertion that a “spectre is haunting Europe, the spectre of communism”. Derrida holds that the spirit of Karl Marx is even more relevant after the fall of the Berlin Wall in 1989 and the demise of communism, that the West’s separation from the ignorance of the suffering still present in the world will “haunt” it and provide the impetus for a fresh interest in communism.