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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. Cover
  2. Half Title
  3. Series Page
  4. Title Page
  5. Copyright Page
  6. Dedication Page
  7. Contents
  8. List of contributors
  9. Preface
  10. 1 Connected media, connected idioms: the relationship between video and electroacoustic music from a composer’s perspective
  11. 2 Sound/image relations in videomusic: a typological proposition
  12. 3 The question of form in visual music
  13. 4 Audiovisual spaces: spatiality, experience and potentiality in audiovisual composition
  14. 5 Rhythm as the intermediary of audiovisual fusions
  15. 6 The curious case of the plastic hair-comb: a rhythm-based approach to a parallel (sound-image-touch) theory of aesthetic practices
  16. 7 The spaces between gesture, sound and image
  17. 8 The gift of sound and vision: visual music as a form of glossolalic speech
  18. 9 Visual music and embodied visceral affect
  19. 10 The function of Mickey-Mousing: a re-assessment
  20. 11 Performing the real: audiovisual documentary performances and the senses
  21. 12 Blending image and music in Jim Jarmusch’s cinema
  22. 13 The new analogue: media archaeology as creative practice in 21st-century audiovisual art
  23. 14 Screen grammar for mobile frame media: the audiovisual language of cinematic virtual reality, case studies and analysis
  24. 15 Nature Morte: examining the sonic and visual potential of a 16mm film
  25. 16 Capturing movement: a videomusical approach sourced in the natural environment
  26. 17 Constructing visual music images with electroacoustic music concepts
  27. 18 Technique and audiovisual counterpoint in the Estuaries series
  28. 19 Exploring Expanded Audiovisual Formats (EAFs) – a practitioner’s perspective
  29. 20 Making a motion score: a graphical and genealogical inquiry into a multi-screen cinegraphy
  30. 21 The human body as an audiovisual instrument
  31. 22 Sound – [object] – dance: a holistic approach to interdisciplinary composition
  32. 23 Son e(s)t Lumière: expanding notions of composition, transcription and tangibility through creative sonification of digital images
  33. 24 Audiovisual heterophony: a musical reading of Walter Ruttmann’s film Lichtspiel Opus 3 (1924)
  34. Index
3.215.186.30