These forms and practices continuously cross-pollinate and produce an ever-changing array of technologies and techniques for audiences and users, which the series aims to represent and foster.
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Today’s sound designers might work in flm and video, installation and performance, auditory displays and interface design, electroacoustic composition and software applications, and beyond. Sound Design The Sound Design series takes a comprehensive and multidisciplinary view of the feld of sound design across linear, interactive and embedded media and design contexts. 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. Andrew Knight-Hill is a composer specialising in studio composed works, both soundbased electroacoustic and audiovisual. This book is ideal for artists, composers and researchers investigating theoretical positions and compositional practices which bring together sound and image. The ideas and approaches explored within this book will fnd application in a wide range of contexts across the whole scope of audiovisuality, from visual music and experimental flm, to narrative flm and documentary, to live performance, sound design and into sonic art and electroacoustic music. The volume’s interdisciplinary perspective contributes to the rich and evolving dialogue surrounding the audiovisual, demonstrating the value and signifcance of practiceinformed theory, and theory derived from practice. Contributions draw upon established discourses in electroacoustic music, media art history, flm studies, critical theory and dance framing and critiquing these arguments within the context of diverse audiovisual practices. 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. 1 Connected media, connected idioms: the relationship between video and electroacoustic music from a composer’s perspectiveĢ Sound/image relations in videomusic: a typological propositionĤ Audiovisual spaces: spatiality, experience and potentiality in audiovisual compositionĥ Rhythm as the intermediary of audiovisual fusionsĦ The curious case of the plastic hair-comb: a rhythm-based approach to a parallel (sound-image-touch) theory of aesthetic practicesħ The spaces between gesture, sound and imageĨ The gift of sound and vision: visual music as a form of glossolalic speechĩ Visual music and embodied visceral affectġ0 The function of Mickey-Mousing: a re-assessmentġ1 Performing the real: audiovisual documentary performances and the sensesġ2 Blending image and music in Jim Jarmusch’s cinemaġ3 The new analogue: media archaeology as creative practice in 21st-century audiovisual artġ4 Screen grammar for mobile frame media: the audiovisual language of cinematic virtual reality, case studies and analysisġ5 Nature Morte: examining the sonic and visual potential of a 16mm filmġ6 Capturing movement: a videomusical approach sourced in the natural environmentġ7 Constructing visual music images with electroacoustic music conceptsġ8 Technique and audiovisual counterpoint in the Estuaries seriesġ9 Exploring Expanded Audiovisual Formats (EAFs) – a practitioner’s perspectiveĢ0 Making a motion score: a graphical and genealogical inquiry into a multi-screen cinegraphyĢ1 The human body as an audiovisual instrumentĢ2 Sound – – dance: a holistic approach to interdisciplinary compositionĢ3 Son e(s)t Lumière: expanding notions of composition, transcription and tangibility through creative sonification of digital imagesĢ4 Audiovisual heterophony: a musical reading of Walter Ruttmann’s film Lichtspiel Opus 3 (1924)
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