A major part of my research revolves around the concept of ‘equivalents’, particulaly between the visual and the audible (eg. white paper and white noise) – imaging the visual of the audible, and the audible of the visual.
Graphic Notation is a form of music notation developed in the 1950’s. It was developed by avante-garde and experimental composers as a more effective way of conveying certain compositional and performative directions than traditional music notation could. It was later employed by composers such as John Cage as a means of employing indeterminate processes in the performance of his pieces.
Other than Graphic Notation and some Graphic Scores being highly visual, and some highly abstract artworks in their own right, what intrigues me with Graphic Notation is its embodiment as a visual equivalent of an audible art form – Equivalents that I am searching for throughout my research.