![]() ![]() Increasingly, 'ambient practices' traditionally associated with the sonic arts are said to expand across fields such as literature, architecture, computing, management, interior decorating, meteorology, urbanism, design, marketing, perfumery, and visual art. This paper, thus, presents and examines those differences with a view to offering insights on how Nollywood film music might be understood. And this unique process and structure strongly influences its film music approaches and aesthetics. One such striking observation is that Nollywood film music projects and production (recording, editing, spotting, etc.) are entirely carried out without the involvement of film directors. My ethnographic study reveals that Nollywood’s structure of film music production differs significantly from some other known cinema traditions of the world. I argue that the capacity to do so subsists in a thorough understanding of the industry’s organisation and long-held divergent creative process. This ‘both and neither’ nature has forced scholars such as Kenneth Harrow to ask: ‘how are we to read their films?’ and, by virtue of this article, their film music. ![]() The Nigerian film industry (Nollywood) embraces both motion picture and television approaches yet it cannot be called one or the other in its entirety. ¶ This book includes short essays, case studies of my own work, tutorials, and a visual framework for experimental approaches to digital media. ![]() While these hybrid forms exist outside established, recognized, familiar productions (films, books, games, concert music, etc), they often use ubiquitous technology (iPods, mobile devices common software like Photoshop or Flash the Internet) to realize ‘the syncretic moment’: my term for a meaningful unity of often disparate, even contradictory, materials and intensions. How’s that work? ¶ In HYBRID FORMS AND SYNCRETIC HORIZONS, I explain how I take digitized media -music/ sound/ noise/ silence, still/ motion images, written/ spoken text - and fuse it (using interactive software) into new expressive forms, experimental performances, media objects, and events. While I enjoy creating my work in those roles, I want to dissolve boundaries between these disciplines, reexamine conventions, and watch what happens when all the elements that make up digital culture mix and lyrically collide. I'm kind of a digital renaissance guy-composer, filmmaker, visual artist, designer, web/interactive creator, and writer. ![]()
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