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Josh Atkinson BA(Hons) Illustration 2017/18 How can Illustration be used to communicate the emotional resonance of music?

Josh Atkinson

4917 words

Contents

Chapter

Page Number

Chapter 1 – Introduction

3

Chapter 2 – Context & Themes

4

Chapter 3 – Case Studies of Practice

10

Chapter 4 – Reflective Practice

13

Chapter 5 – Conclusion

15

Images

16

Bibliography

17

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Chapter 1 – Introduction

It is well documented that Music can have a profound impact on us as individuals and can cause us to experience certain emotions. It can also be argued that Visual Arts such as Illustration work as a parallel to this idea. The idea that we can also experience emotion, perhaps even a sensory experience when observing a certain piece of Illustration or artwork. When the two are merged together, or rather one follows the other, it can be argued that it then creates a whole new kind of sensory experience and can produce a sense of, what is known as, emotional resonance.

This essay discusses the aspect of emotional resonance between Illustration and Music. It will discuss the relationship between the two, addressing the qualities that they have in common and the aspects that differ.

There will be various themes and topics that will be explored, such as, what is meant by resonance or emotional resonance in terms of the audio and the visual within the arts. Theorists such as Walter Pater, Simon Shaw-Miller and Beth Williams will be referenced who support claims of certain aesthetic and musical theories which will help give context to the topic that is being discussed and explored. A case study has also been conducted on the work of Artist Stanley Donwood, in order to provide further context as a way to see how the principles of what has been discussed have been applied in his own work. Another key basis that this essay will be argued through is the idea of Program (Programme) Music, the idea that music is representational to some other form and Absolute Music which is the opposite and suggests that it stands alone as a pure and non-representational form of art.

A Practical exploration will also be evidenced in relation to the topic that the essay discusses. This practical work will act as a device for putting the theory into literal practice. By working in response to music and focusing on one piece in particular the aim is to achieve an understanding of how to work with the discussed visual and aesthetic principles in conjunction with music. Work that has been produced as part of the practical investigation applies the very same theories that the essay explores such as the translation of, in simple terms, ‘what the music looks like’.

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Chapter 2 – Context & Themes

‘All art constantly aspires to the condition of music’. (Pater,1887, p.130-157). This Is a quote from theorist and writer Walter Pater and more detail will be given later on in order to discuss the importance of these words. This research will investigate the means and methods by which visual arts does or does not aspire to the condition of music. In order to explore the themes that will be discussed within this essay it is important to highlight the methods in which music as an art form can achieve such emotional resonance.

The emotion within music in an auditory sense is conveyed through a range of elements much like how the visual arts works through the formal elements. There are many musical devices or dynamics that can bring about certain emotions within you as a listener. For example, the melody itself within the instrumentation or indeed within a certain vocal performance. Contrast in the light and dark of the music which can be brought about through a variant in volumes, loud and quiet with use of crescendo and decrescendo can also help convey emotion. Another important device is tempo, which creates the pace of the piece. These are all examples of dynamics within music that can dictate certain emotions that a listener may experience and ultimately explain how music can resonate with us as listeners.

Although it may seem contradictory the visual is the silent partner of music as is similarly suggested by the author Simon Shaw Miller (2013, p,xi). In the contemporary world, it can indeed be argued that due to something such as the resurgence of vinyl records in the past few years, or at least within the mainstream consciousness, as certain circles have constantly been collecting, the visual is more important than ever in relation to music and indeed the corresponding music that it represents. Another factor is the prevalence of streaming services such as Spotify where there is a strong emphasis on the visual, displaying imagery such as album artwork on the screen and images of the artists. Miller, again strongly supports the importance of the visual element, in conjunction with sound, suggesting that music is intertwined with visuality and that ‘art involves itself with music’. (Miller, 2013, p,1).

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This interconnectedness highlights how integral one is to the other and that the artwork itself is effectively inseparable from the music. Beth Williams argues the point and idea of ‘silent music’ and describes the term of ‘register shift’ or ‘shift of register’. Meaning – ‘When the participants’ experiencing of the music moves, momentarily, outside of the aural realm.’ – (Williams 2013, p.5). She maintains the fact that music can indeed be presented visually as opposed to just sonically and much like how Miller suggested, the visual can be considered as silent music.

Williams eludes to the ‘inner senses’ and how individuals perceive such an experience. She is in essence talking in terms of how the visual aspect resonates with us in terms of ‘sound art’ and ultimately how visual art, in this case Illustration, can represent sound and music.

Of course, the term resonance or the way in which the art forms resonate with us is the key theme being discussed, so it is therefore highly important to look further into the idea of what it means when something does indeed resonate with someone. The Oxford Dictionary provides many definitions for the many uses of resonance but one that is particularly relevant suggests ‘The power to evoke enduring images, memories, and emotions’. Therefore, evoking imagery in this sense is the key point when concerning it with the idea of visual art and the argument being made.

Furthermore, listening to what can be perceived as emotional music i.e. music that will resonate, releases a signalling molecule to the brain known as Dopamine. This is as a result of being triggered by what is known as a ‘peak emotional moment’ in the music. It can therefore be argued that one can achieve the same sensory experience when observing an example of visual art. As has been established, the argument that this essay puts forward is discussing exactly how much the two are inextricably linked. When the two are paired together it is evident that they conjure up certain emotions; identifying how, is the key point.

One way of approaching this is through the literal meaning within the word Music.

Muse; an ancient Greek myth or the name given to a goddess who inspires a creative artist, believed to give encouragement in different areas of literature, art Josh Atkinson

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and music. Thus, Muse being the origin of art and music. Furthermore, the term for a museum which of course presents the Visual arts also means ‘home of the muses’. To take this even further the word music can be translated into this same context and therefore emphasizes the marriage that the two art forms share with one another, at least in definition terms.

However, there is certainly more concrete evidence than that as opposed to simply just analysing the origin of the words. Once again Miller states a similar point of view with the link between music and visual art, when talking about the physical aspects of the two. ‘Rather than thinking of music as solely an art of the ear and the visual arts as solely arts of the eye, we should think of them both as multi-sensory and in important ways, synesthetic’ – (Miller, 2013, p.7).

This aspect of the ‘multi-sensory’ and above all the broader term of Synesthesia are very important methods in terms of considering Illustration and its relationship with music and the idea of it being a highly effective tool for expressing the emotional content of the music it represents. Synesthesia is a neurological condition, a ‘sensory phenomenon’, meaning the person who has it experiences the way they see things in two sensory responses to one stimulus. For example, Sound and colour Synesthesia or ‘Chromesthesia’ is the experience of music in colours and is just one of over 100 hundred combinations/forms of the condition. When discussing the idea of the visual creating a sense of emotional resonance in response to music, is it is important to consider and apply the same principles and ways of thinking that would therefore be similar to someone who experiences Synesthesia. This idea is once again supported through Miller, stating that ‘Sounds carry vision and vision or more specifically looking is not a purely sense-limited activity’ - (Miller, 2013, p.8).

Illustration, when done effectively, speaks visually through the method of communication. The idea of communication is through speaking and communicating with one another. Communication, can in turn, be a way of connecting. Be it face to face or a connection in the cerebral sense, perhaps when thinking about a piece of visual artwork or indeed a piece of music. Thus, evoking emotion and ultimately Josh Atkinson

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creating a sense of resonance with the receiver. ‘The feel of an illustrator’s tools and materials orchestrates the making of an image’ – (O’Reilly, Varoom Magazine 2017, p,4). The key word within this quote is the word ‘orchestrates’. A word that is synonymous with music but can, as is evident in this case, take on different meanings. The tools and materials of an illustrator ultimately make up the tone and aesthetic of their work and conduct the forms and visual elements within a specific piece of said work. Much like the way in which a conductor leads an orchestra and dictates the various aspects of the music, be it pace, tone, pitch, volume etc. They are the visual aid for the musicians within the orchestra and as has been previously mentioned this is very much in parallel to the way in which the visual devices within Illustration work or indeed the way in which an illustrators mind may work particularly when creating work that would resemble ‘sound art’. It is also an effective visual metaphor for connecting what Miller and Williams has suggested with the idea of something such as Illustration being able to emote what we hear through the music.

As eluded to in the introduction, a counterargument to the idea of music and visual art sharing the same characteristics as one another is the idea of ‘Absolute Music’ being in contrast to ‘Program Music’. While the two terms may initially concern music, they are very important to the argument as they discuss whether music can or cannot share certain properties as for example visual arts such as Illustration.

In recent history, as early as the 19th century there has been a contentious and convoluted topic and indeed debate which concerns the idea of said ‘Absolute Music’. The Oxford dictionary definition concerning in most part, instrumental music, declares that it is ‘not intended to represent or illustrate something else’ suggesting the notion that it transcends other forms of art. In simple term’s it is not about anything and that is non-representational. This is in stark contrast to what is known as ‘Program Music’.

However, it is also argued that Absolute music cannot even be defined due to its own contradictions. One of the first believed to have coined this phrase is the composer Richard Wagner, due to his review of Beethoven’s 9th Symphony in 1846.

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There, he describes a moment in the piece as ‘nearly abandoning the confines of absolute music’ when referring to a vocal movement which therefore involved lyrics and was not purely instrumental. The relevance to what has been discussed being that according to the way in which it is ‘absolute’ it can only exist within its own confines and certainly cannot have any other forms, such as, other uses of Music, Illustration or Visual Art, work in conjunction or to complement one another. In contrast, this feeds into the German term of ‘Gesamtkunstwerk’, an aesthetic theory i.e. ‘a synthesis of the arts’ is one meaning for it or ‘total art’. This was also a belief held by Wagner which suggested his aesthetic ideals. The theory therefore dispelling the idea that an art form such as music can solely stand alone and therefore reinforces the subject of sound and vision working in parallel or even in harmony.

As was previously mentioned, the opposite to ‘Absolute Music’ is ‘Program music’ which in essence stands in the sense that different art forms can merge together and represent one another and are simply not isolated. The quote at the very beginning of this chapter by 19th Century theorist, writer and art critic Walter Pater epitomises the idea of not necessarily music aesthetic, as that is a different terminology entirely but the notion that visual art feeds into the core of what we see and hear, represented through music itself. This quote was said in his first published book in 1887 ‘The Renaissance’ and in particular the essay on ‘The School of Giorgione’.

Pater suggests that ‘all art’, not just a singular example, aspires to the conditions or the essence of what music, as an art form, represents. Ultimately it is in stark contrast to the idea of ‘Absolute’ and promotes the thinking of ‘Program music’ with the grounds to back up the argument of the visual, in this case, illustration, complementing the sound and the music. So much so, that the values in which the visual is created, is through the very construct of the music, thus supporting the argument that the aesthetic matches what the music represents.

Much like Wagner with ‘Gesamtkunstwerk’ one of the key aesthetic theories that Pater proposed was the theory or subject of ‘Anders-streben’, a term given by German critics which was referred to as a – ‘a partial alienation from its own limitations, by which the arts are able, not indeed to supply the place of each other,

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but reciprocally to lend each other new forces.’ The way in which it is described ‘to lend new forces’ can only reinforce the idea of how Illustration or, in broader terms, the visual arts can give one another dynamics that can’t necessarily be recognised when they are isolated or indeed when paired with, for example, a piece of music. In the whole case of the argument of this essay the inclusion of the word or the idea of it being ‘reciprocal’ is highly important. To suggest that it works both ways and how they both have the power to reflect and support one another.

‘Anders-streben’ has been highlighted once more from Pater, in more detail and again it references music as the art form that all else conditions itself to, ‘constantly’ as the initial quote suggests. Not in the sense of it being absolute as this is not a question of music being isolated from the others it is that music is what the rest feeds into. ‘All the arts in common aspiring towards the principle of music; music being the typical, or ideally consummate art, the object of the great ‘Anders-streben’ of all art, of all that is artistic, or partakes of artistic qualities.’ (Pater, The renaissance, 1887, p, 130-157).

This notion of the art forms ‘feeding into’ each other is much like in the way that Synesthesia has been discussed and suggested by Miller and overall how for example illustration can be perceived together with music neurologically, thus creating an emotional response which can therefore be described as one resonating with the sensory experience. It is also worth highlighting as it mirrors the so-called register shift of what Williams proposed, where the experience of the music shifts from outside of the aural realm to the visual, ultimately becoming intertwined.

Therefore, as the visual aspires to the shapes and forms of the music, to also echo the words of Pater, a sense of resonance is created.

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Chapter 3 – Case Studies of Practice

Stanley Donwood

The case study for this essay shall be exploring the work of Stanley Donwood. A Visual Artist who is renowned for his work with the multi-genre spanning British band Radiohead, among other self-led projects and collaborations with other artists.

Donwood works in a way that perfectly represents the idea of the translation between sound and vision within his practice. Two images have been analysed that will provide further context to the themes and aesthetic principles that have been discussed in the previous chapter and therefore through the image analysis, it will be evident to see how those principles have been applied, in a professional practitioner’s sense.

Donwood is a very visceral kind of artist in the sense of the thematics within his work. Key themes in his work include nature, politics, and human subjects such as isolation or loneliness, which is often the kind of reflective aspects that creates the most effective sense of resonance, especially when it is related to, or is in response to music. There is a distinct evocative and selective use of colour in his practice, which also helps present certain concepts and gets across the intended mood and emotion of his visual work. This can also help translate a musical feeling with more effect too. ‘I try to distill a sense of what the music conveys into the texture of the artwork. I try to see what the music looks like.’ (Hunt, DIY Magazine Interview, 2016).

In this quote Donwood gives an insight into his thought process. This notion of aiming to replicate what the music ‘looks like’ is precisely what a visual artist aims to achieve in their work when working in conjunction with music. Be it an album cover or a gig poster for example. It is important for the purpose of the work to be able to translate the audio into the visual, otherwise it may be argued that the visual side, especially in a promotional sense, is left obsolete. With the aspect of talking about Program Music as opposed to Absolute this of course is paramount to the idea that the visual supports and reflects what the music represents, even in a resonating, emotional sense.

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‘…By being in the studio or at least close by I can hear the evolution of the songs and then attempt to figure out what the visual equivalent would be.’ (Hunt, 2016).

Once again Donwood hints more at the aspect of the visual illustrating the music, mentioning ‘the visual equivalent’ and in the argument of Absolute Music there can be no visual equivalent because of what it stipulates.

[Fig 1] The first image that is going to be analysed is taken from the Radiohead album In Rainbows from 2007. The only aspect that is different with this image compared to the released cover is that it does not feature any of the text over the front. This is so the image can be analysed clearly but it is also to take it away from the idea that it is just purely an image for Radiohead and to not make it subjective as it were. The image has a clear sense of vibrancy and motion can be seen bursting from the centre as though it is the emergence of some form of life/organism. There is a celestial aesthetic to the image which helps the appearance of a said burst of life such as the big bang. In terms of the music that this visual imagery represents this is very relevant, as there is an organic element to the sounds within the album and the idea of life and growth is often associated with Radiohead, with their features in partnership with Planet Earth/Blue Planet for example in 2017. The album also represented a shift in sound for the band and in terms of perceiving this visually, the artwork includes more colour than previous covers that Donwood has done for the band, which suggests the different overall sound ‘aesthetic’ with the album, compared to the previous efforts. The organic nature in which the materials are splattered onto the area instantly allows you to envisage the music with this so-called injection and burst of life. Donwood achieved the unique effect that can be seen on the cover by a use of a mixture of ink and wax, which creates a meld of forms and fluid movement as well as the intriguing textures within the forms. This creates an appearance of perpetual bubbling and when coupled together with the music this motion is enabled to come to life in an imaginative sense.

In 2013, Donwood staged an exhibition entitled ‘Far away is close at hand in images of elsewhere’ which was inspired by both the poem by Robert Graves ‘Song of

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Contrariety’ (1923) and by his commute where a bridge by Paddington Station featured this statement in graffiti.

[Fig 2] The second image is taken from that very exhibition in 2013 and is also in conjunction, or is at least influenced by the work for Radiohead and their album King of Limbs from 2011. While this image may not be the final outcome or even the album cover that was used, it is still a product of the music and is all within the same process in that respect, so the audio to visual ways of thinking still apply in this example. This particular image is positively bursting with colour and yet again, life.

Even more so as this image physically involves the aspect of nature with the trees and the visible roots. ‘Me and Thom were working on these ideas of strange, multilimbed creatures that are neither malevolent or benevolent, they're simply there, part of the living spirit of the forest. That's come through into all of the work.’ Williams, Work on Paper Interview (2011). This goes back to mentioning what themes occur in his practice and this therefore signifies a key involvement of the theme of nature, nature being one of the many motifs that he uses in his work. As Donwood explains when asked about the artwork in the exhibition, including this image. ‘It's very much about natural forms’ Williams (2011). Once again, this image, like the previous one, features a central focal point with the bright doorway within the trees to lock the eye in and then to follow it outwards as the trees seem to melt away. Alongside the music this gives the impression that it is closing in, perhaps shutting off from what lies in the distance which could reflect one of the other motifs of the human element within his work, possibly suggesting isolation as was mentioned at the beginning of the chapter.

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Chapter 4 – Reflective Practice

The Practical work that has been conducted is a visual investigation and exercise in response to composer Gustav Holst’s ‘The Planets’. There are seven separate pieces of classical based music in the planets suite and as part of the visual exercise, the decision was made to focus on one specific piece of music, instead of the full seven planet pieces.

The visual work has allowed me to explore the visual nature of an example of instrumental music and also given me the chance to think in terms of what has been discussed at length in this essay with the idea of sound and vision, creating visual work from listening to music. The particular piece I have decided to focus on is from The Planets and is entitled Mars ‘The Bringer of War’. Out of the seven pieces, I felt that this was the most visually arresting. I also chose it for the reason that it reminded me of the contemporary composer John Williams and his work on Star Wars and therefore gave me newfound appreciation for Holst. Appreciation for the fact of how I realised how much he has inspired, for example, the music in modern film scores and how it has helped shape the idea of the science fiction genre in a way.

However, in my practical work I didn’t want to follow this idea of the science fiction aspect and start depicting an obvious aspect or symbol of, for example, aliens or flying saucers, just for the reason that I am listening to something about Mars.

Instead I wanted to capture a mood and a feeling that I felt when listening to it, aiming to capture this through texture and colour with uses of expressive washes with watercolour and brusho. I have particularly found the brusho fantastic for achieving expressive marks or streaks that reflect to some extent the way in which Donwood achieved his ‘splatters’ on the In Rainbows album cover. To an outsider with no context of the fact that the practical work is based on ‘Mars’, the practical examples and the music may not necessarily link together. However, it was important for me to shut this out and just go with instinct and above all create what I saw in my own minds eye. To quote Stanley Donwood again ‘there are linkages Josh Atkinson

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[between them] in my head that probably make absolutely no sense to anybody else.’ (Williams, 2011). This I believe epitomizes perfectly the mantra of a creative, especially when visualizing something as subjective as music, as it is all a personal experience and ultimately, we all relate to and resonate with a piece of music differently to one another, as individuals. This also promotes the idea of Abstract art, which I believe, with the principles that I have worked with for this visual project, this is very relevant. Working with shape and form and focusing on the involvement of colour and what its purpose is, in order to convey emotion and to ultimately create a sense of resonance with the viewer.

It is also worth mentioning that in the latter stages of my research I came across some very inspirational, in many aspects, influences outside of Illustration. However, they are very firmly grounded in the visual art category, to be specific, they are animations which involve musical elements to them. I am referring to the pioneering stop motion techniques that can be seen in the early 1920’s/early 20th Century by figures such as Walter Ruttmann, particularly with his Licht spiel Opus series of animations and Oskar Fischinger with similar pioneering animation techniques in his work. As mentioned, this is strictly not Illustration in a still image sense, however, at its very core these animations were communicating and above all were illustrating the feel of the music with abstract shapes, patterns, colours and movements. For this reason, I felt they were extremely relevant to my project as a means of research.

They influenced me in a way of thinking in a more abstract manner, focusing on the idea of shapes and movement in response to the music of Holst. In the future, I would aim to produce my own animations in a similar vein which would represent an in-depth exploration into the visual and audio elements being sequenced together in video. However, the medium of GIF has been exercised in a way that I aimed to reflect the animations from my research, aiming to apply the same principles that have been discussed.

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Chapter 5 – Conclusion

As was mentioned in the previous chapter, the way in which we interpret music is a personal aspect and is mostly deemed subjective to us as individuals. Therefore, the idea of saying that emotional resonance can be experienced through observing an example of Illustration, be it, on its own or when accompanied by music, is ultimately a matter of opinion and perception. However, if the illustration has a music based aesthetic, which in turn is a reflection of the music it supposedly represents, then it can certainly be argued to indeed carry emotional resonance as a result. The case study and the research of Stanley Donwood somewhat typifies the whole case of this essay, demonstrating effectively within the aesthetics of his work, the principles of working in a representational sense, in response to music. This is evidenced through his use of the fundamental elements, in order to achieve this most effectively. The visual formal elements such as shape, colour, texture are all examples in which one can emote through the visual image, emote as a viewer and understand how to create emotion as an Illustrator. In terms of the discussion in the first chapter between Absolute and Program Music this whole essay is very much firmly in agreeance with the aspect of Program Music and ultimately how as ‘Ander-streben’ suggests the art forms of, in this case, the visual and the music, lend each other new forces in order to create this sense of emotional resonance. The author Simon Shaw Miller and his ideas on the visual with music, has been a key influence in the themes of this essay with such suggestions as the visual being the ‘silent partner of music’ (Miller 2013). That just being one of many examples of the type of opinions that have grounded the whole topic of discussion with this essay. In terms of argument purposes there was never really a side which supported the notion of the visual not to effectively reflect music, or in terms of the question, to not represent or convey emotional resonance. However, with what has been identified within the case study and the reflective practice, it is evident that if it wasn’t for certain techniques with for example, the use of the aesthetic principles or formal elements, the desired effect of emotional resonance could not effectively be translated or conveyed.

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Image References

Fig. 1. Donwood, S (2007) In Rainbows (Album Artwork) [image] Available at: http://diymag.com/media/img/Ge neral/Hall-ofFame/_1500xAUTO_crop_center center_75/tumblr_m8yak1u0a41 qj3af5o1_1280.jpg [Accessed 27 Dec. 2017]

Fig. 2. Donwood, S (2013) Far away is close at hand in images of elsewhere [image] Available at: https://i.pinimg.com/originals/f9 /36/56/f936564f7834b312d2bf bcc3dd26b06b.jpg - [Accessed 27 Dec. 2017]

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