1st Edition

Composing Audiovisually Perspectives on audiovisual practices and relationships

By Louise Harris Copyright 2021
    228 Pages 7 B/W Illustrations
    by Focal Press

    228 Pages 7 B/W Illustrations
    by Focal Press

    What does the Coen Brothers’ Barton Fink have in common with Norman McLaren’s Synchromy? Or with audiovisual sculpture? Or contemporary music video? Composing Audiovisually interrogates how the relationship between the audiovisual media in these works, and our interaction with them, might allow us to develop mechanisms for talking about and understanding our experience of audiovisual media across a broad range of modes. Presenting close readings of audiovisual artefacts, conversations with artists, consideration of contemporary pedagogy and a detailed conceptual and theoretical framework that considers the nature of contemporary audiovisual experience, this book attempts to address gaps in our discourse on audiovisual modes, and offer possible starting points for future, genuinely transdisciplinary thinking in the field.


    Section 1 - Thinking Audiovisually

    Thinking Audiovisually

    Chapter One - Discourse on Audiovisual Experience

    Chapter Two - Analysis of questionnaire results

    Chapter Three - Defining Transperceptual Attention

    Coda - some terminology for Transperceptual Attention

    Section 2 - Composing Audiovisually

    Composing Audiovisually

    Chapter Four - the elements of audiovisual composition

    Chapter Five - Teaching Audiovisually

    Section 3 - Analysing Audiovisually

    Analysing Audiovisually

    Case Study 1 - For Tashi

    Case Study 2 - Cinechine

    Case Study 3 - pebbles

    Case Study 4 - Hitchcock Etudes

    Case Study 5 - Close to be close to me

    Case Study 6 - A Love Story

    Case Study 7 - Open Air


    Epilogue - Final Reflections



    Louise Harris is an audiovisual composer and Senior Lecturer in Sonic and Audiovisual Practices at The University of Glasgow. In her creative work, she specialises in the creation and exploration of audiovisual relationships utilising electronic music, recorded sound and computer-generated visual environments in fixed media, performance and large-scale installation contexts.

    Situating practice firmly at the heart of her discourse, Dr. Harris unpacks the creative process from a composer's perspective, revealing valuable insights which challenging traditional media hierarchies and elaborate nuanced understandings of audiovisual composition. This text will be of importance to students, fellow composers and auiodvisuolologists, providing a desperately needed injection of new perspectives into the topic.

    Andrew Knight-Hill, University of Greenwich, London.


    Harris courageously crafts transdisciplinary inroads into difficult territory, providing teachers, composers, students and theorists multi-perspectival approaches to a broad range of audiovisual practice and identifying and challenging limits of current language and conceptions.

    Bret Battey, De Montfort University, Leicester