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Visual Musicality and the problem with self-expressionities 02

There is a great power in the images that we see, create and given (Edwards 1986, p. 246) which Sturken & Cartwright (2004) describe further that we are in the practice of looking to make sense of the world. They argued that to see is a process of observing and recognizing the world around us (p. 10). As human visual experience is important, Dondis (1973) suggests taking a new view of the function of not only the process but also the visualizer in society. A research demonstrated by Betty Edwards (1986) on analog drawing shows the link between visual perception, drawing, and creativity that in learning how to draw, people will learn how to see differently (p. xiii). It demonstrate that there is a ‘vocabulary’ of the visual language of drawing, a vocabulary that includes line, form, and structure – all of which can be ‘read’ for meaning (p. 95).

Woolman (2002) explained that every genre of music is associated with a visual language, normally portrayed in the faces of the musicians, the packaging of recordings, the fans and venues for live performance (p. 10). In his book Sonic Graphics/Seeing Sound, he exposes the reader to new methods of thinking about the relationship between sound and image. Furthermore, those showcase of some specimen presented, from enthrallingly complex to a chillingly simple urge the reader to analyze the factors of form, function, technology and context in visual music and its inversion and music visualization.

John Bowers (1999) defines design studies as ‘… a discipline or subject of study that engages not only in visual explorations but also those cultural, social, and philosophical in nature’ (p.4), furthermore, it goes to issues about integration of design discipline into interdisciplinary conditions. It is beneficial to combine music and art for optimum learning state, such as what Betty Edwards (1986) has observed:

Feeling is just a different form of thinking ….the experience of feeling positive about learning is, in itself, a stimulus to encourage excitement about the learning process. When sensory input has a positive emotional reference point, the brain triggers the release of pleasing opiate type of chemical that creates a state of heightened awareness and well being …. psychologically. This can explain the benefits of using music and art to develop optimum learning state and assist in memory enhancement. (p. 199-201)

This study tends to offer an alternative learning environment and approach in graphic design fundamental study by using music for stimulation. As what Goodman (2001) suggests whether a design is created on computer or with cut-paper and paste, it is the knowledge of basic design principles that fuels successful designs (p. 116). Indeed, in this current information age, two-dimensional graphic design is dealing with a new visual language, which Wong & Wong (2001) suggest that the traditional principles of design might need redefinition. Implication of this study would give valuable contribution to the practice of interactive education in the learning environment mentioned before, where the instructors and students can examine creativity in studying fundamentals of art and design. The investigation attempted to leave open doors rather than a fixed and static theory at the end of exploration. Thus the theory does not remain self-referential and the practices of graphic design moves beyond intuition. Too many visual music assume computer generated look that the experiment in this study attemped to break down and see the direct reaction of human artists. Hopefully, the study can inspiring beyond the practice of graphic designer and musician; it can be purposely generated as a visual aid for psychological treatments or exercise for creative mind.

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