Relevant bibliographies by topics / Visual Music

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Visual Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Visual Music"

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O'Neill, Tim, Aidan Meehan, Aidan Meehan, Aidan Meehan, and Courtney Davis. "Visual Music." Books Ireland, no. 174 (1994): 21. http://dx.doi.org/10.2307/20626835.

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Ellis, Phil, Lieselotte van Leeuwen, and Kenneth Brown. "Visual-music vibrations." Digital Creativity 19, no. 3 (September 2008): 194–202. http://dx.doi.org/10.1080/14626260802312624.

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Dulic, Aleksandra, and Keith Hamel. "Visual music instrument." International Journal of Arts and Technology 2, no. 1/2 (2009): 22. http://dx.doi.org/10.1504/ijart.2009.024055.

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Berry, Venise T., and Vanessa Shelton. "Watching Music: Interpretations of Visual Music Performance." Journal of Communication Inquiry 23, no. 2 (April 1999): 132–51. http://dx.doi.org/10.1177/0196859999023002003.

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Jolij, Jacob, and Maaike Meurs. "Music Alters Visual Perception." PLoS ONE 6, no. 4 (April 21, 2011): e18861. http://dx.doi.org/10.1371/journal.pone.0018861.

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Kanellos, Emmanouil. "Visual Trends in Contemporary Visual Music Practice." Body, Space & Technology 17, no. 1 (April 4, 2018): 22. http://dx.doi.org/10.16995/bst.294.

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Finnäs, Leif. "Presenting music live, audio-visually or aurally – does it affect listeners' experiences differently?" British Journal of Music Education 18, no. 1 (March 2001): 55–78. http://dx.doi.org/10.1017/s0265051701000146.

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This article reviews research regarding the question whether presenting music live, audio-visually or only aurally makes any difference for listeners' experiences. Most factors that characterise live performance could be supposed to enhance listeners' cognitive, affective and evaluative experiences. However, it is often hard to predict the exact influence of the visual stimuli that relate to audio-visual, and mostly also to live musical presentation. Many studies show that live music has positive effects on listeners' experience. However, there is little systematic research that compares live music with other modes of presentation. Studies comparing the effects of audio-visual and aural presentation have yielded rather mixed results. There is an obvious need for well-controlled studies on the effects of live music and on audio-visual music presentation based mainly on musico-psychological rather than visual-artistic principles. The research needs to take account of the variables that are crucial for understanding the effects of different modes of presentation.
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Watkins, Julie. "Composing Visual Music: Visual Music Practice at the Intersection of Technology, Audio-visual Rhythms and Human Traces." Body, Space & Technology 17, no. 1 (April 4, 2018): 51. http://dx.doi.org/10.16995/bst.296.

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Langlois, T., J. Peterson, and S. Palmer. "Visual Texture, Music, and Emotion." Journal of Vision 14, no. 10 (August 22, 2014): 437. http://dx.doi.org/10.1167/14.10.437.

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Sorensen, Vibeke. "Global Visual Music Jam Project." Leonardo 38, no. 4 (August 2005): 316. http://dx.doi.org/10.1162/leon.2005.38.4.316.

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Dissertations / Theses on the topic "Visual Music"

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Hill, Andrew. "Interpreting electroacoustic audio-visual music." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/9898.

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The basis of this research project stems from reflections upon the process of composition for electroacoustic audio-visual music. These are fixed media works in which sound and image materials are accessed, generated, explored and configured in creation of a musically informed audio-visual expression. Within the process of composition, the composer must decide how to effectively draw relationships between these time based media and their various abstract and mimetic materials. This process usually has no codified laws or structures and results in relationships that are singular to the individual artworks. The composer uses their own experience and intuition in assessing how best to associate sounds and images and they will use their own interpretation of the materials to evaluate the how successful they are in realising their intentions. But what is there to say that the interpretation made by the composer bares any resemblance to interpretations made by audiences? The current research sought to assess any trends or commonalities in how people interpret such works. Utilising a combination of empirical research, composition and scholarly study, the project investigated various theoretical approaches to interpretation and the occurrence of correlation between compositional intention and audience interpretation. Models from different theoretical disciplines were combined in order to build up a picture of the processes involved in making interpretations, and to aid in the rationalisation of empirical data. The application of three methodological approaches allowed for the topic to be considered from a diversity of perspectives, and for triangulation to take place in confirmation of the research outcomes. The way in which individuals build up interpretations from non-codified abstract and mimetic materials also provided a suitable case study for the critique and assessment of various theoretical approaches to interpretation. The project challenges structuralist approaches to interpretation, drawing together theoretical materials and empirical research findings in support of a post-structrualist model of interpretation that demonstrates the absolutely vital role played by context - the framing of the artwork in the consciousness of the individual audience member.
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Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.

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With 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.
Doctor of Philosophy
In 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.
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Fucay, Monthedoro Edith Elizabeth, Hoyos Sadith Rosana Manrique, Cachuan Anne Katherine Rodriguez, and Noriega Edgar Verástegui. "Estudio de música Visual Music Media." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/626263.

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El presente proyecto sobre el estudio de grabación, nos muestra la viabilidad de la ejecución, basándonos en una investigación y validación de mercado que se realizó en la ciudad de Lima Metropolitana a personas del NSE B, C y D, que nos permitió identificar una demanda insatisfecha debido a la falta de oportunidades de poder demostrar su talento musical, en un estudio de música implementado con un nivel profesional, con instrumentos y equipos profesionales y que, además, les ofrezcan oportunidades de presentaciones en eventos. Actualmente, las personas interesadas en el arte de la música buscan estudios en donde puedan mejorar o perfeccionar su talento, y se preocupan por encontrar un lugar que les ofrezcan todas las alternativas posibles, y considerando que hoy en día hay una gran tendencia, vemos que hay una oportunidad de negocio para poder atender esta necesidad. Para la puesta en marcha de este estudio de música, se requerirá una inversión inicial de S/231,815 soles, financiado en un 40% con la aportación de un inversionista y un 60% con los aportes de los accionistas. La inversión que realizarán los accionistas (60%) se estima recuperar en 5.77 años de la operación. El proyecto resulta viable porque cumple las expectativas de los inversionistas y accionistas al tener una TIRE (61.31%) superior al WACC (15.84%), y para el accionista de un COK de 17% obteniendo un TIRF de 56.00%. anual.
This project on the recording studio shows us the feasibility of the execution, based on a market research and validation that was carried out in the city of Lima Metropolitana to people of NSE B, C and D, which allowed us to identify a demand dissatisfied due to the lack of opportunities to demonstrate their musical talent, in a music studio implemented with a professional level, with professional instruments and teams and that also offer them opportunities for presentations at events. Today, people interested in the art of music look for studies where they can improve or perfect their talent, and they worry about finding a place that offers them all the possible alternatives, and considering that today there is a great trend, we see that there is a business opportunity to meet this need. For the start-up of this music studio, an initial investment of S/231,815 soles will be required, financed by 40% with the contribution of an investor and 60% with the contributions of the shareholders. The investment that shareholders will make (60%) it is estimated to recover within 5.77 years of the operation. The project is viable because it meets the expectations of investors and shareholders by having a TIRE (61.31%) WACC (15.84%), and for the shareholder of a COK of 17% obtaining a TIRF of 56.00%. per year.
Trabajo de investigación
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Guimond, David. "(Re)sounding : disintegrating visual space in music." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102803.

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While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski.
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Mollaghan, Aimée. "The musicality of the visual music film." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.

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This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect and to consider them in terms of specifically musical parameters. This thesis therefore seeks to redress previous imbalances by undertaking a close analysis of the expressly musical qualities of these texts. Drawing on the seemingly disparate areas of film theory, art history, music theory and philosophy, it takes an interdisciplinary approach to investigating the measurable influence that wider contextual, philosophical and historical developments and debates in these areas bore on the aesthetics of specific visual music films. By drawing on the analogy of the absolute in music to demonstrate how musical concepts can function across the disciplinary boundaries of music and film, the first half of this thesis illustrates how musical ideas can be applied both formally and conceptually to the moving image in order to elucidate the musical characteristics of the text. Using the notion of the absolute as a conceptual framework allows for a thorough overview of changing trends and aesthetics in music, film and art and the visual music film. The centrality of notions of the absolute to visual music is demonstrated through close analysis of films by Viking Eggeling, Hans Richter, Walter Ruttmann, Norman McLaren, James Whitney and Jordan Belson. The second part of this thesis concentrates less on the philosophical vestiges carried over from musical thought to the visual music film, instead focusing on the variety of techniques and technological developments that evolved in tandem with the visual music film, each simultaneously exerting an influence on one another. It explores the effect that colour processing had on not only the visual but the overall audiovisual structure of the visual music film through a textual analysis of Kreise (1933) by Oskar Fischinger. It also investigates how particular styles of musical composition dictated the development of specific technical processes such as painting directly onto the celluloid strip, in order to capture the syncopated and frenetic musicality of jazz music. The case studies here are Begone Dull Care (1949) by Norman McLaren and A Colour Box (1935) by Len Lye. Further to this, it examines how the technical processes of animated sound emerged in the search for a greater correlation between the visual and sound tracks of the visual music film through close analysis of Synchromy (1971) by Norman McLaren and the optical sound films of Guy Sherwin. Finally, this thesis marries the inquiry into technological innovation of its second half with the historical, aesthetic and philosophical concerns of earlier chapters by considering the work of visual music pioneer John Whitney. Focusing on his digitally produced visual music films, the thesis explores Whitney’s enduring concern with the unification of sound and image through the shared foundation of mathematical harmony.
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Bain, Matthew N. "Real Time Music Visualization: A Study in the Visual Extension of Music." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1213207395.

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Whyte, Ross. "Perpetual erosion : impermanence in audio-visual intermedia." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196018.

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Dickinson, Kay. "Music video and synaesthetic possibility." Thesis, University of Sussex, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310663.

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Teixeira, Frederico. "Bad Habits : Exploring visual objects as a means of extracting and creating material for music composition." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4191.

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This dissertation explores my process of drawing inspiration from visual objects and visual arts in order to generate compositional tools for music writing. It analyzes some of my earlier works, when this practice started taking shape, up until the construction of Bad Habits, an orchestral piece that utilized the late works of late North American painter Philip Guston as its main drive. The text follows a chronological and journal-like approach that seeks to dissect and investigate each step from the elaboration to the organization of each element drawn from visual objects in order to create a cohesive composition that leans heavily on subjectivity as it pays homage to Guston as an individual and as an artist.
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Rhodes, Mahlon. "Music + Design: Creating Holistic Multimodal Music Experiences." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent157469738121486.

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Books on the topic "Visual Music"

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Mollaghan, Aimee. The Visual Music Film. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821.

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Egyptian harmony: The visual music. Greensboro, NC, U.S.A: Tehuti Research Foundation, 2000.

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1940-, Singh Chandramani, and Javāhara Kalā Kendra, eds. Visual music: Ragamala paintings of Rajasthan. Jaipur: Jawahar Kala Kendra, 2005.

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Principles of music and visual arts. Lanham, MD: University Press of America, 1986.

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Stephenson, David Hanford. On the visual representation of music. Ann Arbor, Mich: U.M.I., 1989.

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Robinson, Colin. The search for a "visual-music". [London]: Middlesex University, 1992.

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Meaning in the visual arts. London: Penguin, 1993.

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Thompson, Dave. The Cure: A visual documentary. London: Omnibus, 1993.

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Pink Floyd: A visual documentary. 2nd ed. London: Omnibus Press, 1988.

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Cann, Kevin. Kate Bush: A visual documentary. London: Omnibus Press, 1988.

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Book chapters on the topic "Visual Music"

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Betancourt, Michael. "Visual Music and Abstraction." In The Iconology of Abstraction, 143–59. New York: Routledge, 2020. | Series: Routledge advances in art and visual studies: Routledge, 2020. http://dx.doi.org/10.4324/9780429262500-14.

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Rogers, Holly. "Audio-visual collisions." In New Music Theatre in Europe, 79–100. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Musical cultures of the twentieth century: Routledge, 2019. http://dx.doi.org/10.4324/9780429451669-5.

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Dillon, Lorna. "Turning Protest Music into Art." In Violeta Parra’s Visual Art, 115–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38407-4_4.

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Mollaghan, Aimee. "Introduction." In The Visual Music Film, 1–8. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_1.

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Mollaghan, Aimee. "Questions of Attribution and Contribution: What Constitutes a Visual Music Film?" In The Visual Music Film, 9–34. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_2.

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Mollaghan, Aimee. "The Formal Absolute in the Visual Music Film." In The Visual Music Film, 35–66. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_3.

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Mollaghan, Aimee. "The Spiritual Absolute in the Visual Music Film." In The Visual Music Film, 67–96. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_4.

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Mollaghan, Aimee. "Experimentation and Technological Innovation." In The Visual Music Film, 97–139. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_5.

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Mollaghan, Aimee. "Conceptions of Harmony in the Work of John Whitney." In The Visual Music Film, 140–72. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_6.

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Mollaghan, Aimee. "Conclusion." In The Visual Music Film, 173–76. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137492821_7.

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Conference papers on the topic "Visual Music"

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Trickett, Terry. "Visual Music." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.53.

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Watkins, Julie. "Interactive Visual Music." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.58.

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Julie, Watkins. "Creating Affective Visual Music." In Electronic Visualisation and the Arts. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/eva2018.70.

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Collopy, F., R. M. Fuhrer, and D. Jameson. "Visual music in a visual programming language." In Proceedings 1999 IEEE Symposium on Visual Languages. IEEE, 1999. http://dx.doi.org/10.1109/vl.1999.795882.

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Grace, Lindsay. "Music Box: An Algorithm for Producing Visual Music." In 2010 Third International Conference on Advances in Computer-Human Interactions. IEEE, 2010. http://dx.doi.org/10.1109/achi.2010.18.

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Schwamstecher, Jorg. "Music." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.254024.

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Muller-Eberstein, Maximilian, and Nanne van Noord. "Translating Visual Art Into Music." In 2019 IEEE/CVF International Conference on Computer Vision Workshop (ICCVW). IEEE, 2019. http://dx.doi.org/10.1109/iccvw.2019.00378.

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Yang, Li-Chia, and Alexander Lerch. "Remixing Music with Visual Conditioning." In 2020 IEEE International Symposium on Multimedia (ISM). IEEE, 2020. http://dx.doi.org/10.1109/ism.2020.00039.

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Tan, Sharon Yee Ping, Zhijia Hu, Alan Yih Lun Koh, Felicia, and Shengdong Zhao. "MusicFlow: an interactive music composition system." In Visual Communications and Image Processing 2010, edited by Pascal Frossard, Houqiang Li, Feng Wu, Bernd Girod, Shipeng Li, and Guo Wei. SPIE, 2010. http://dx.doi.org/10.1117/12.863513.

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Lopez, Gerardo, and Leigh VanHandel. "Hearing, seeing, liking: The effects of audio-visual listening conditions on perceptual ratings." In Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0019.

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Reports on the topic "Visual Music"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.

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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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3

Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.
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4

Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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