Disparity – Disconnection
A sense of disconnection between audio and visual elements occurs when they appear to act independently in terms of movement. This relationship is prominent in visual music due, at least in part, to the ease of implementation. It is safe and easy to implement from an editing perspective since there is no concern with connecting audio and visual movements. Often overused, it lacks the characteristics of an approach intended to provide formal qualities that guide the audience through the ebb and flow of the composition. In this manner, it can quickly become monotonous lacking interest fostered by variety and surprise. From another perspective, when the audio and visual unfold in the same spatiotemporal dimension, there exists a relational connection formed by the propensity of human beings to organize phenomena into comprehensible, yet perhaps limited, patterns. As mentioned in the introduction, apophenia can be a major source of sense-making in this paradigm.
As opposed to implementing kinetic disparity throughout an entire composition, it can be perhaps beneficially employed effectively in specific instances. For instance, it can provide a sense of release from tensions during which it allows the audience to gain a sense of emotional equilibrium… a relaxing if you will. Disparity between audio and visual elements can be inserted as a background movement to provide additional interest and dimension to a scene without detracting from the main material, which might be interacting in other manners. It can additionally provide contrast to a section during which the audio and visual are tightly aligned. Finally, it can provide a segue between themes, phrases, or movements. The suggestion here is, as with herbs in cooking, it be used sparingly and wisely.
To experience an example of kinetic disparity, watch and listen to the audio/visual file linked to below. Please keep in mind that though a section might exhibit disparate characteristics, other characteristics might also be exhibited.