ABSTRACT

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.

chapter 1|12 pages

Connected media, connected idioms

The relationship between video and electroacoustic music from a composer’s perspective
ByDiego Garro

chapter 2|17 pages

Sound/image relations in videomusic

A typological proposition
ByMyriam Boucher, Jean Piché

chapter 3|19 pages

The question of form in visual music

ByMaura McDonnell

chapter 4|16 pages

Audiovisual spaces

Spatiality, experience and potentiality in audiovisual composition
ByAndrew Knight-Hill

chapter 5|18 pages

Rhythm as the intermediary of audiovisual fusions

ByDaniel von Rüdiger

chapter 6|16 pages

The curious case of the plastic hair-comb

A rhythm-based approach to a parallel (sound-image-touch) theory of aesthetic practices
ByMatthew Galea

chapter 7|21 pages

The spaces between gesture, sound and image

ByMark Pedersen, Brigid Burke, Roger Alsop

chapter 8|12 pages

The gift of sound and vision

Visual music as a form of glossolalic speech
ByPhilip Sanderson

chapter 9|13 pages

Visual music and embodied visceral affect

ByJulie Watkins

chapter 10|16 pages

The function of Mickey-Mousing

A re-assessment
ByEmilio Audissino

chapter 11|16 pages

Performing the real

Audiovisual documentary performances and the senses
ByCornelia Lund

chapter 12|11 pages

Blending image and music in Jim Jarmusch’s cinema

ByCeline Murillo

chapter 13|18 pages

The new analogue

Media archaeology as creative practice in 21st-century audiovisual art
ByJoseph Hyde

chapter 14|13 pages

Screen grammar for mobile frame media

The audiovisual language of cinematic virtual reality, case studies and analysis
BySam Gillies

chapter 15|7 pages

Nature Morte

Examining the sonic and visual potential of a 16mm film
ByJim Hobbs

chapter 16|14 pages

Capturing movement

A videomusical approach sourced in the natural environment
ByMyriam Boucher

chapter 17|23 pages

Constructing visual music images with electroacoustic music concepts

ByMaura McDonnell

chapter 18|18 pages

Technique and audiovisual counterpoint in the Estuaries series

ByBret Battey

chapter 20|22 pages

Making a motion score

A graphical and genealogical inquiry into a multi-screen cinegraphy
ByLeyokki

chapter 21|15 pages

The human body as an audiovisual instrument

ByClaudia Robles-Angel

chapter 22|17 pages

Sound – [object] – dance

A holistic approach to interdisciplinary composition
ByJung In Jung

chapter 23|17 pages

Son e(s)t Lumière

Expanding notions of composition, transcription and tangibility through creative sonification of digital images
BySimon Cummings

chapter 24|16 pages

Audiovisual heterophony

A musical reading of Walter Ruttmann’s film Lichtspiel Opus 3 (1924)
ByTom Reid