Sound and Image
Aesthetics and Practices
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Sound and Image: Aesthetics and Practices
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Book Description
Sound and Image: Aesthetics and Practices brings together international artist scholars to explore diverse sound and image practices, applying critical perspectives to interrogate and evaluate both the aesthetics and practices that underpin the audiovisual.
Contributions draw upon established discourses in electroacoustic music, media art history, film studies, critical theory and dance; framing and critiquing these arguments within the context of diverse audiovisual practices. The volume’s interdisciplinary perspective contributes to the rich and evolving dialogue surrounding the audiovisual, demonstrating the value and significance of practice-informed theory, and theory derived from practice. The ideas and approaches explored within this book will find application in a wide range of contexts across the whole scope of audiovisuality, from visual music and experimental film, to narrative film and documentary, to live performance, sound design and into sonic art and electroacoustic music.
This book is ideal for artists, composers and researchers investigating theoretical positions and compositional practices which bring together sound and image.
Table of Contents
1. Connected Media, Connected Idioms: The Relationship Between Video and Electroacoustic Music From A Composer's Perspective
Diego Garro
2. Sound/Image Relations in Videomusic: A Typological Proposition
Myriam Boucher & Jean Piché
3. The Question of Form in Visual Music
Maura McDonnell
4. Audiovisual Spaces: Spatiality, Experience and Potentiality in Audiovisual Composition
Andrew Knight-Hill
5. Rhythm as The Intermediary of Audiovisual Fusions
Daniel Von Rüdiger
6. The Curious Case of The Plastic Hair-Comb: A Rhythm-Based Approach to A Parallel (Sound-Image-Touch) Theory of Aesthetic Practices
Matthew Galea
7. The Spaces Between Gesture, Sound and Image
Mark Pedersen, Brigid Burke Roger Alsop
8. The Gift of Sound and Vision: Visual Music as A Form of Glossolalic Speech
Philip Sanderson
9. Visual Music and Embodied Visceral Affect
Julie Watkins
10. The Function of Mickey-Mousing: A Re-Assessment
Emilio Audissino
11. Performing the Real: Audiovisual Documentary Performances and The Senses
Cornelia Lund
12. Blending Image and Music in Jim Jarmusch’s Cinema
Celine Murillo
13. The New Analogue: Media Archaeology as Creative Practice in 21st-Century Audiovisual Art
Joseph Hyde
14. Screen Grammar for Mobile Frame Media: The Audiovisual Language of Cinematic Virtual Reality, Case Studies and Analysis
Sam Gillies
15. Nature Morte: Examining the Sonic and Visual Potential of a 16mm film
Jim Hobbs
16. Capturing Movement: A Videomusical Approach Sourced in The Natural Environment
Myriam Boucher
17. Constructing Visual Music Images with Electroacoustic Music Concepts
Maura McDonnell
18. Technique and Audiovisual Counterpoint in The Estuaries Series
Bret Battey
19. Exploring Expanded Audiovisual Formats (EAFs) - A Practitioner’s Perspective
Louise Harris
20. Making A Motion Score: A Graphical and Genealogical Inquiry into A Multi-Screen Cinegraphy
Leyokki
21. The Human Body as an Audiovisual Instrument
Claudia Robles-Angel
22. Sound – [Object] – Dance: A Holistic Approach to Interdisciplinary Composition
Jung In Jung
23. Son e(s)t Lumière: Expanding Notions of Composition, Transcription and Tangibility Through Creative Sonification Of Digital Images
Simon Cummings
24. Audiovisual Heterophony: A Musical Reading of Walter Ruttmann's Film Lichtspiel Opus 3 (1924)
Tom Reid
Editor(s)
Biography
Andrew Knight-Hill is a composer specialising in studio composed works, both sound-based electroacoustic and audiovisual. He is Senior Lecturer in Sound Design and Music Technology at the University of Greenwich, programme leader of Sound Design BA, director of the Loudspeaker Orchestra Concert Series and convenor of the annual SOUND/IMAGE conference.