| Summary: | This thesis investigates the role of cross-modal correspondence within audiovisual composition, presenting both a conceptual model and a methodological framework for the creation of abstract audiovisual art. While this research is specifically aimed at the field of abstract digital animation it is also intended to act as a platform for the future development of concurrent audiovisual synthesis techniques within the general field of audiovisual art. Referencing literature regarding the psychophysiological bases for audiovisual integration, it is argued that temporal congruence offers a mechanism for the manipulation of cross-modal correspondence within audiovisual media. Further to this, electroacoustic and formalist theory is discussed with specific reference to the interrelationship of medium structures to enable the identification of a conceptual model for audiovisual composition. Referencing theory from the fields of musical instrument design and algorithmic composition, parameter mapping is identified as a mechanism for the modulation of temporal congruence. Its implementation within audiovisual composition is then discussed. Derived from both this and a conceptual parallel between the organisational structures of audio grains and visual particles, the audiovisual particles framework is presented as a methodological basis for the creation of abstract audiovisual art. The presented theory is supported by a series of demonstrative studies exploring both the practical application of the audiovisual particles framework and the role of parameter mapping within the process of audiovisual media generation. Experiential observations are discussed for each to inform future praxis. In addition, two audiovisual compositions are presented as both implementations of developed theory and as artworks in their own right.
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