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
2. Sound/Image Relations in Videomusic: A Typological Proposition
Myriam Boucher & Jean Piché
3. The Question of Form in Visual Music
4. Audiovisual Spaces: Spatiality, Experience and Potentiality in Audiovisual Composition
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
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
9. Visual Music and Embodied Visceral Affect
10. The Function of Mickey-Mousing: A Re-Assessment
11. Performing the Real: Audiovisual Documentary Performances and The Senses
12. Blending Image and Music in Jim Jarmusch’s Cinema
13. The New Analogue: Media Archaeology as Creative Practice in 21st-Century Audiovisual Art
14. Screen Grammar for Mobile Frame Media: The Audiovisual Language of Cinematic Virtual Reality, Case Studies and Analysis
15. Nature Morte: Examining the Sonic and Visual Potential of a 16mm film
16. Capturing Movement: A Videomusical Approach Sourced in The Natural Environment
17. Constructing Visual Music Images with Electroacoustic Music Concepts
18. Technique and Audiovisual Counterpoint in The Estuaries Series
19. Exploring Expanded Audiovisual Formats (EAFs) - A Practitioner’s Perspective
20. Making A Motion Score: A Graphical and Genealogical Inquiry into A Multi-Screen Cinegraphy
21. The Human Body as an Audiovisual Instrument
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
24. Audiovisual Heterophony: A Musical Reading of Walter Ruttmann's Film Lichtspiel Opus 3 (1924)
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.