Text, including the two scores - Columbia University Department of ...

foolishly, an intermedia work can devolve into a cheesy screen saver or a flashy musical theater number or to any other form of crass spectacle. I also affirm that total control is an illusion and that much of any work's intention and nuance will be lost in communication, and that therefore much of the done
will indeed fall upon the listener regardless. Yet I would argue that our continual immersion in the technological media landscape has changed our expectation and sensitivity towards intermedia synchronization. Everything beeps at us or flashes lights or pixels interpretation
inform us of a completed action or warn us of an impending one. An ‘earcon’ (a short, recognizable aural punctuation) has become as essential to to
branding as a logo. The history and perceptual saturation of sound/music clichés in films and music videos make contemporary viewers more literate towards ironic or subversive usage. We may be desensitized towards literal relationships across electronic media; yet, corporate/commercial
also perpetually expect these literal relations, making us increasingly sensitive to their disruption or manipulation. My major reason for intermedia synchronization (and here I refer not just to sound & video, but to any configuration, such as acoustic sound with we
audio processing, or human movement with video, etc) is the mental challenge that is a natural extension of traditional musical composition. A live
may argue the inherent dissimilarity between music and other arts: they require different techniques, and lead to different results (often of very dissimilar levels of tangibility or perception). I agree with both those criticisms (which apply, respectively, to the pre-compositional preparation,
traditionalist
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