![]() ![]() 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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