News of changes, events and new releases.
Lumia, images and links to other sites where people are creating dynamic visual art.
Software and ideas for creating your own lumia, including instruments to connect sound and vision.
Comments from visitors like you.
Credits, footnotes, bios, and other loose ends.
Annotated bibliographies, books, a timeline, profiles of pioneers, and other historical and background material.
Lumia are dynamic graphic pieces that combine color, form and motion to affect audiences as music does.
This piece introduces the ideas of scientists, inventors, and painters who imagined a visual art as powerful as music.
Links to the sites of others working on lumia and related arts.
Order visual music for your computer.
Gallery Sites

The OpenEnded Group is a collaboration of Paul Kaiser, Shelley Eshkar and Marc Downey. Their site contains images and QuickTime clips from many of his pieces including BIPED, Ghostcatching, and Hand-Drawn Spaces. Among the many exciting works represented here are collaborations with choreographers Merce Cunningham and Bill T. Jones that have produced beautiful integrations of human movement, computer animation and music.

Chris Casady's Naptime site contains a Flash illustration of Principles of Animation, QuickTime VR simulations of Orville Wright’s view of Huffman's cow pasture and of an old analog animation studio, lots of beautiful images, the case for impeaching President Bush, his wonderful visual music pieces, and more. I love Chris’ imagination. (Here’s a hidden doorway in for the impatient).

Jarislaw Kapuscinski’s Compositions with Sounds and Images site contains QuickTime clips of his pieces, including his award-winning works in which Mondrian's paintings move to Jarek's electronic music. It also contains an essay on correspondences in intermodal composition that he wrote while doing his PhD thesis in music at UCSD. I find Jarek's aesthetic sense among the most developed and interesting represented on the web.

Brian Evans’ and ghostartists sites have images of his artwork and brief essays describing his ideas. His work explores jazz chords, sine waves, and nature walk. His interest is “the intertwined worlds of sound and light.” Brian wrote some important articles in the early 1990s that introduced the idea of a movement from tension to resolution as a way of bringing temporal design to the structuring of visual elements.

With her fluid abstract compositions Nancy Herman has brought the sensibilities of a weaver to visual music. She is an active and thoughtful participant in discussions of visual music online. Her site contains prints, hangings and collages in addition to her color music pieces.

Antonio Linhares’ Olhonovo (New Eye) site contains several clever Flash-based animations. Antonio's animations, many done as studies for classes, are a nice blend of classic and abstract animation, wit with color. Especially noteworthy are Fifth and Powerhouse, both reminiscent of the movement and energy in Fischinger’s work.

Don Ritter’s aesthetic-machinery site has streaming RealPlayer demos of installations that combine complex audio, interesting video and motion tracking to create dramatic environments. In Intersection, the visitor walks in a dark room across a sonically created four-lane highway. In Fit an exercise partner and percussion track respond to a viewers movement. There are also several pieces that demonstrate Orpheus, his interactive video sequencing software.

Scattergood Moor’s site is an eclectic and fascinating mix of his own art, family history and ideas and pointers to some of the most interesting light-based art on the net. Among its treasures are images of Thomas Wilfred's art, information on one of the Clavilux Junior (which is for sale), and an annotated listing of links to light artists on the net.

Andrew Lyons’ site contains excerpts from his work in television, film and virtual reality as well as still artworks (of the latter, I particularly like “Cinema” which he did as a collaboration with his housemate Michelle Goode). Under the virtual reality tab, you'll find stills from his film Schwarzchild, a film that uses red/blue anaglyph glasses to explore symbolic integrations of 3D audio and image. His site also contains writing (his own and pointers to others’) on visual music, synaesthesia, the psychology and physiology of perception and related topics.

Staceyjoy Elkin’s Knot Room presents animations she produced using Lloyd Burchills’ Knot. It is almost as if the stylized knot drawings of Leonardo or Albrecht Durer had come alive. Her creations dance and move, sometimes silently, sometimes to music. And her logo at the end of ‘Amend’ is its own little delight.

Lee Roskin’s Techno Light & Sound site contains images from his many abstract video-tapes, which he thinks of as "like Jackson Pollack set to music" and a QuickTime file of one of his pieces.

Adriano Abbado’s artevideo site explores an abstract three-dimensional space using QuickTime VR. There is no sound, but QTVR provides a nice level of control over movement in the space. Abbado's personal site includes his digital images and his Master's thesis, "Perceptual Correspondences of Abstract Animation and Synthetic Sound," which was done under Tod Machover at MIT's Media Lab.

Bozidar Svetek’s Interakt site provides RealPlayer demonstrations of his music visualization process, which he refers to as unique but does not otherwise describe.

Dead Links

John Dunn’s Wonk is a real-time, direct manipulation, performance language for producing both sound and geometric images. Jamy Sheridan collaborated with Dunn on this software and has created several beautiful rug pieces that demonstrate its use. His web site provides some still images from his performance pieces. I saw these at ISEA 97 in Chicago and found both the saturated colors and the fluid movements very beautiful. Dunn has been working on DNA-generated music and related areas. His site contains pointers to a large number of algorithmic music sites. Sonia Sheridan (Jamy's mother) has a site that includes images based on other of Dunn's programs, as well as some very interesting material related to inter-generational art.

Copyright 1998–2004 Fred Collopy. This document was last updated on 10/7/06; it is located at