Background
When any two disciplines spawn a third domain of learning you may encounter some terms that are common to both of the original fields of study. Typically the common terms usually are derived from a separate but related third discipline. A fairly good example of this process is the mixing of 'computing' and 'medicine' as manifested in the growth of Artificial Intelligence (AI). Old words from agriculture like 'node' or 'branch' are to be found in both parent disciplines and thence AI. Fortunately in this case common metaphors were implied by the agricultural borrowing's. Thus these similarly acquired words reinforce their common agricultural metaphors, so that the scope of possible meaning within the new discipline inherits the common thread of meaning.
 


The Spanish translation of this page .
Claridad semántica de dominio Música Visual.


Mess at hand.
Unfortunately for the case of Vizsic (Visual Music) the parent disciplines of (Aural) Music and the Visual Arts have the world over since the dawn of writing, used each art form as metaphors of the other.  Whilst this enriched the rhetoric arsenal for the critic's struggle to find words about essentially non-literal art-forms, it has left a potent legacy of inbreed metaphor and simile in language heritage of both art forms. In isolation such sematic muddying of a word's pedigree and meaning is of little practical consequence. However when the language from two such domains is forced to coexist within the common space of a new discipline, the clarities of individual parents disintegrate in a babble from ambiguity to utter contradiction.

The word 'volume' means radically different things to people versed in the different traditions. In the visual arts 'volume' denotes an occupied three dimensional area. But in music, film & video, 'volume' refers to the magnitude of sound amplification. So if when analysing the entrance of an 'image+sound' motif within a film, somebody says the "motive's volume needs to be increased" do they mean the sound amplification should be ramped up, or that the size of the motive should be increased, or both together??




Aim.
In the quest for a semantic clarity for Vizsic domain, the following table strives for a trans-discipline uniqueness at the domains foundations. All the terms / terminology used in this table should-be unique within the context of the table.  So they would have only one usage / meaning as they occur, unavoidably I have had to coin a few new words. Where I changed or added a term I have left the 'old traditional ambiguous term' struck-out next to the one that I am proposing to supersede it with. My rationale to the choices of particular words, changes, new or re-purposed words has been include here.

Would love to hear what others think (both the bad & the good) of it. 
Especially if I have any glaring omissions. 




Elements (things you work with),  Principles  (the way you work them)





 

Visual

Structure

Aural

 

Principles

Elements

Visual

Aural

Elements

Principles

S
t
a
t
i
c

  1. Repetition || Alternation
    Gradation || Radiation

  2. {Graphic Harmony}
    Gharmony

  3. Contrast, Opposition, Conflict

  4. Dominance

  5. Unity

  6. Balance

  1. Line

  2. Direction

  3. Shape

  4. Size

  5. Texture

  6. Chiaroscuro :
    Tone Value,
    Key Regime  

  7. Colour  =
     Value, Hue & 
     Chroma:
         Chord Cabala

  1. Motif

  2. Cell

  3. Frame

  4. Shot



  1. Tick

  2. Measure

  1. Silence

  2. Amplitude {Volume}

  3. Timbre

  4. Pitch

  5. Interval

  6. Chord

  1. Harmony

  2. Mode, Scale &
          Tonart
      (German for Key)

  3. Consonance &
          Dissonance

  4. Tonality & Atonality

  5. Ma  (Japanese for
     the space between)

T
e
m
p
o
r
a
l

  1. Acceleration

  2. Choreography

  3. Kinographics

  1. Motion Movement

  2. Force | Gravity

  3. Vector & Trajectory

  1. Time & Time-code

  2. Sequence

  1. Leitmotiv 
    {    Figure}     || Phrase

  2. Intro, Coda & Cadence

  3. Sentence ||
    Period

  4. Movement // Hauptperioden

  1. Duration

  2. Dynamics

  3. Pulse & Beat

  1. Rhythm

  2. Time-signature

  3. Melody

  4. Klangfarbenmelodie ( tone-colour melody )


 

  1. Surface

  2. Figure & Ground

Architectonics =
  ( precise structural organization )

  1. Tension & Resolution

  2. Development & Recapitulation

  3. Antecedent & Consequent

Musical-Form 
= ( imprecise sequential ordering )

 

S
p
a
t
i
a
l

  1. Viewpoint 
    // Point of View

  2. Compression 
    | Tensile | Torsion

  3. Density

  1. Nay-void {Volume} & Void

  2. Mass

  3. Proportion

  4. Planes

  1. Space-Type

  2. Point

  3. Coordinate


 

  1. Separation

  2. Sound-
    attenuation

  3. Anechoic-
    space

  1. Phonic-texture {Texture }

 

Genre  = ( symbolic convention & context )

Amalgamation
Gesamtkunstwerk ( a total work of art )
Lumina

Idiom = ( stylistics convention & context )





Copyright W. Shawn Gray © 31 January 2002 ~ 7 January 2006.



For an explanation how all this fits in the broader issues involved in creating of art see " Aesthetics of Computer Graphics ".









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