Audiovisual Art

It is interesting how the various approaches to Antoni Muntadas' body of work tend to emphasise a general order within his art. It would seem one cannot explain Muntadas without referring to a general, structured perspective that is always in the process of its whole trajectory; that one cannot understand Muntadas' proposal without first understanding that there exists an internal order, which places both his project and his methodology on the same level. Each one of these analyses, from "constellations" (Augaitis), to the "Muntadas-method" (Raunig and Expósito), passing through the "enzymatic process in the metabolism of culture" (Mercader) and everything alluding to "deltas, water, liquefaction" (Fontdevila), among myriad others, need to establish a system that will allow us to access the different areas of activity his artistic practice presents. They do so because only through examination of these areas and their internal connections will we be able to participate in Muntadas' proposal. The different texts approaching Muntadas' work1 logically reflect the same structure of said production but nevertheless, as a whole, these analyses comprise a parallel galaxy that accounts for the multiplicity of thematic, methodological, and procedural approaches that exists in this work, which is already operating as a dynamic archive in which data and categories remain in continuous review under our contemporary circumstance. Thus, each of Muntadas' proposals and exhibitions, whether through the articulation of signs, through network articulations, or through the critical exercise of revelation through deconstruction, fits into or references an ongoing

Cette treizième édition du Cahier Louis-Lumière nous invite à interroger les formes audiovisuelles complexes, induites par les technologies dites « immersives » – réalité virtuelle, réalité augmentée, réalité mixte – et les modalités de réception qu’elles impliquent. Il s’agit d’en explorer les différents enjeux (techniques, esthétiques, idéologiques, théoriques...), tout en analysant les discours produits à leur sujet.
Nous rendons compte ici des travaux du colloque international qui s’est tenu en avril 2019 à Montpellier et dans nos murs à Saint-Denis, avec le soutien du RIRRA 21 de l’Université Paul-Valéry Montpellier 3.

The main theme that I will focus on in my dissertation is the elucidation of the journey of Jason and the Argonauts, which represents a significant part of history both locally and globally. First of all, it is crucial to separate myth from history, and this is exactly what I am doing in Chapter 3. Furthermore, I will present an exhibition proposal for the upcoming Museum of Argo, for which specialists that are working in the cultural sector and some political local authorities are trying really hard to set up and open. After explaining my point of view towards the setting up of the exhibition, I will move on by explaining how a narrative can be created across the gallery and how some pieces of interactive material can cover the educational aspect and add to the museum experience. Lastly, I will refer to some issues that I would take care of, in order to be able to include groups that suffer from any kind of disability and express my point of view on several ideas that could be combined to form a whole cultural route within the city.

and Keywords Dance and music appear to belong together: Conventional definitions of dance often con ceive it as a rhythmical activity in which a series of steps is performed to musical accom paniment. Indeed, dance and music share many similarities such as rhythm and may have co-evolved as a form of nonverbal communication between groups of people. Despite a rich history of composers and choreographers exploring the aesthetic relationship be tween dance and music, only a few scientific studies have systematically explored how the visual aesthetics of dance interact with the auditory aesthetics of sound and music. In this chapter we will focus on such interactions; we will explore the common evolutionary origins of dance and music and review existing research on how dance and music influ ence each other to produce an audiovisual aesthetics of sound and movement. The chap ter will explore interactions in both directions: music influences dance perception by al tering movement expressiveness, orienting visual attention, and by modulating memory. At the same time music perception strongly depends on groove and danceability and is shaped by the listener's dance experience. The chapter closes with a review of method ological challenges to studying the audiovisual aesthetics of dance and music and sug gestions for future research in this field.

Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.

The article discusses the intermedial, intertextual and overwriting process of adaptation in the postmodern theater performance The Unknown Soldier, based on an iconic Finnish war novel The Unknown Soldier (1954) by Väinö Linna, and directed by Kristian Smeds (Finnish National Theater, 2007–2009). Especial emphasis is given to the use of music in the performance. The theoretical framework draws on performance studies and cultural music research, as well as on Linda Hutcheon’s notions of postmodern adaptation and critical parody.

Modern interactive means combined with new digital media processing and representation technologies can provide a robust framework for enhancing user experience in multimedia entertainment systems and audiovisual artistic installations with non-traditional interaction/feedback paths based on user affective state. In this work, the? Elevator? interactive audiovisual platform prototype is presented, which aims to provide a framework for signalling and expressing human behaviour related to emotions (such as anger) and ...

Escribir sobre las impresiones que te causan las imágenes de una película-no la película en sí-es de las cosas más gratificantes para mí. Hay momentos cinematográficos que me impactan con tan solo verlos y lo único que soy capaz de hacer es llevarme las manos a la boca y quedarme así por varios minutos. Esto ocurre cuando la historia nos sumerge extrañamente en emociones ajenas y pone en evidencia que lo nuestro no es en realidad ajeno para nadie, lo que sentimos es humanamente real. El cine de Wim Wenders provoca este efecto en mí, la imagen normalmente suele ser un refuerzo narrativo en una película pero en su obra resulta ser la historia en sí. Sus imágenes tienen un valor "mostrativo", no representan o acompañan, son el film. Su plan es entrar en la psique del espectador a través de la composición y el color además de los diálogos y desempeños actorales poderosos que suelen componer sus historias. "Paris, Texas" tiene ese balance entre el poder visual y el poder del relato. La imagen tiene el papel de regalarnos datos, situarnos en estados interiores y lugares exteriores retratando temas como la familia, el olvido, el desencanto de los sueños y la búsqueda del ser a través del viaje como detonante de un camino interior hacia el autoconocimiento y la aceptación de uno mismo. Wim Wenders y el destacado director de fotografía neerlandés, Robby Müller, comparten responsabilidad creativa y utilizan el poder de la fotografía para traducir estas ideas en cuadros cinematográficos con imágenes estéticamente puras que sostienen gran peso emotivo del film.

By ratifying the UNESCO Convention on the Protection and Promotion of the Diversity of Cultural Expressions in June 2013, Morocco reiterates its determination as to enter the era of the democratization of culture by promoting and disseminating it and undertake this democratization really taking into account the factors of human, social and economic concealed in culture in its broad sense. If Morocco's cultural resources are of abundant richness, accessibility to these various forms of cultural expression and interest in these forms of expression by Moroccan 'regular' citizens remains unknown. Current urban trends and neo-arts are booming, creativity is at the rendez-vous. But the lack of resources, places of distributions and mechanisms of assistance and promoting culture stifles any independent energy. Creative industries are struggling to emerge, with the exception perhaps of the film industry that shows positive figures in terms of numbers in annual productions, along with the issue of distribution posed by the introduction of multiplexes and the closing of cinemas. In the absence of a real collective awareness of the importance of the integration of culture in the development process, culture and the creation in Morocco will find themselves always constrained to take their true rise and will never see their potential exploited as he could really. But fortunately, there are other alternatives to continue to stimulate artistic and cultural creativity of the Moroccan specifically that of young Moroccan. These take place for the most part in line. Indeed, one can find several internet sites, blogs, forums and platforms dedicated to culture and its derivatives. Moreover, increasingly large libraries and museums are adopting online digitized formats in order to attract more visitors and communicate about their institutions. In this graduation project, and from the experience that we have gathered at the Fotografi'Art association we will account for the way in which we worked on this project. How we chose to use and work on this resource to address a social theme, namely youth unemployment, through mediation introducing the medium of the virtual exhibition.

Language: French

Keywords: audiovisual expression, unemployment, youth, culture, audience mediation

RESUMO A aglutinação de elementos estéticos específicos em certas produções artísticas digitais, que por meio da internet encontram vazão para expressão em formatos ainda pouco discutidos pela historiografia, provoca questionamentos referentes às possíveis maneiras de operar com objetos de estudos virtuais. Dentro do exponencial crescimento de novos gêneros e subgêneros musicais, este artigo foca no Vaporwave e seu discurso contracultural cínico e irônico explorado por meio de som e imagem. A este recorte de expressão virtual que inicia por volta de 2010, alvitra-se uma ponte de debate a respeito de como operar com objetos de estudos cujos cernes são digitais e modificados pela tecnologia. A partir do Vaporwave, o pivô para debater a liquidez de natureza do som e imagem é a característica técnica Glitch, que transcende a conceituação do formato orgânico por constituir uma estética que é fruto da corrupção dos dados e do mal funcionamento da máquina que está envolvida na expressão. Imagem e som por meio da tecnologia são transformados em texto puro, ao estarem no plano digital organizado por código binário, e no erro da plataforma digital é que se extrai um valor estético e simbólico que permeia o discurso do Vaporwave. ABSTRACT The agglutination of specific aesthetics elements in certain artistic digital productions, that by the internet find flow way to expression in formats not too discussed by Historiography yet, causes questionings about possible ways of operate with virtual objects. Inside the exponential grow of new musical genres and subgenres, this paper focus on Vaporwave and its cynical and ironic countercultural discourse explored by image and sound. To this part of virtual expression that initiates around 2010, is sought a bridge to debate over how operate with study objects whose cores are digital and modified by technology. Starting from Vaporwave, the pivot to debate the liquidity of nature of sound and image is the characteristically Glitch technique, that transcends the conceptions of the organic format by constituting an aesthetic that is result of the machine malfunction evolved in the expression. Image and sound by technology are transformed in pure text, by being in the digital plan organized by binary code, e in the 1 Este artigo é um recorte do Trabalho de Conclusão de Curso " Quando a fonte evapora " , orientado por José Alberto Baldissera, neste ano de 2016, na UNISINOS.

Il volume tratta in modo approfondito il suono nell'audiovisivo nei suoi aspetti tecnici ed espressivi, principalmente per film e documentari. I tre autori, noti professionisti del settore, affrontano sia i lati produttivi che postproduttivi, fino all'ascolto dello spettatore, trattando anche la musica per film. Il saggio è impreziosito da una dettagliata cronologia sull'avanzamento scientifico e tecnologico correlato al suono, e da grafiche e fotografie originali. E un'opera per esperti ma anche per appassionati e studenti di cinema. La prefazione è di Claudio Strinati.

The Helicopter String Quartet (1993) by German composer Karlheinz Stockhausen (1928–2007) is one of the most notorious works of classical music of the past decades.  The work is scored for a traditional string quartet, four helicopters each with a pilot and a sound technician, audio and video communications equipment, a sound engineer (or ‘sound projectionist’) and a moderator (optional). Lasting half an hour, the work features the four musicians playing the music each in their own helicopter, in the air.

The present article discusses the work from the ‘conceptual music’ perspective. Our approach is based above all on a musicological translation of the theory of conceptual art developed in visual arts scholarship, i.e. the application of that theory to art consisting of sound. Our analysis is based on the score of the work including its written instructions, the composer’s other commentaries on the work, the recording made by the Arditti Quartet and the documentary directed by Scheffer. The article is a discussion of the ways in which the Helicopter String Quartet challenges our thinking about music and the world.

We first discuss the concept of conceptual music and then a feature characteristic of conceptual music in general and this work of Stockhausen’s in particular that we call a manifestation of a concept. This means presenting ideas using concrete symbols. In the work at hand, the key concepts being manifested are the concepts of air, sound direction, the world, the cosmos and light. Also, the transgressive approach of the work to the string quartet tradition prompts reflection on the relationship of the work to (chamber) music and to music as a metaphor for the miraculous and the ineffable. Finally, we discuss the Helicopter String Quartet as music that presents as a metaphor of itself and explore conceptuality as a feature of this music.

O cinema é exterioridade, aspecto, evidência. Muito do interior pode transparecer. CABRERA, Júlio (2006, p.31). Introdução: 'Sintaxe' provém do grego syntaxis, cujo prefixo syn quer dizer daquilo que é conjunto, enquanto a raiz taxis significa ordem, lei, regra. Em português, esta palavra guarda o mesmo sentido do grego, quando designa todo conjunto de regras e leis que, no caso das linguagens, ordenam a sucessão dos signos em sintagmas que comunicam ideias, pensamentos e sensações. Ao contrário das linguagens verbal, matemática, musical ou imagética, o cinema é uma linguagem híbrida, que contém várias outras em harmonia discursiva. Em vista desse hibridismo característico, o cinema apresenta uma sintaxe bem mais complexa do que as de outras linguagens da cultura. Podemos denominar de 'elementos da sintaxe cinematográfica' algo como os movimentos dos personagens e objetos em cena, os movimentos e ângulos da câmera, os enquadramentos, os cortes, as montagens, a luz, a cor etc. Contudo, estes acima são os elementos básicos e fundamentais da sintaxe cinematográfica, sem os quais outros elementos narrativos secundários não podem exercer seu papel sintático e semântico. A intensão deste breve capítulo é lançar luz sobre esses segundos elementos sintáticos, que compõem a ordem discursiva da maioria da filmografia conhecida.

While existing analytical frameworks (Chion 1994, Coulter 2009) provide basic classification tools for experimental audiovisual works, they fall short in elaborating the variety of compositional possibilities falling within the notion of “synchresis” (Chion 1994). I propose to delineate the various shades of synchresis through a case study analysis of the somewhat simpler relations between light and sound in media installation works using luminosonic objects: objects which appear to emit both sound and light in an integrated manner.
I will suggest a graphical framework for the analysis and composition of audiovisual relations between sound media and self-illuminating light objects, detailing various forms of integrated audiovisual dynamics. The framework will relate the compositional concepts of vertical harmonicity and horizontal counterpoint (Chion 1994) to the perceptual notion of “cross- modal binding” (Whitelaw 2008), thus linking compositional dynamics to perceptual effects and affects.

Audio mastering procedures include various processes like frequency equalisation and dynamic range compression. These processes rely solely on musical and perceptually pleasing facets of the acoustic characteristics, derived from subjective listening criteria according to the genre of the audio material or content. These facets are playing a significant role into audio production and mastering, while modelling such a behaviour becomes vital in automated applications. In this work we present a system for automated dynamic range compression in the frequency. The system predicts coefficients, derived by deep neural networks, based on observations of magnitude information retrieved from a critical band filter bank, similar to human’s peripheral auditory system, and applies them to the original, unmastered signal.

Cartographies of Copyright is a cultural history of copyright that maps out various contradictions and tensions that give shape to the crisis of copyright and its relations to US music industries. More specifically, this work charts the radical dissension of copyright in recent history and argues for an understanding of the crisis as an internal transformative process. This formulation shifts the analytic approach from an abstract conceptual-legal perspective to a series of discrete points within a lived history, culture and materiality of copyright thought, audio technologies and neoliberal capitalism. Seen in terms of territorialization, the expansion of copyright via the music industries gives unique insight into the particular ways music and its media formats effect the evolution of copyright culture and law. When framed this way, an investigation into music and copyright leads to recognizing new forms of control, changing modes of administering access and contemporary relations of power.
To chart the effects of these transformations I draw upon the tensions and problematics that constitute the Wu-Tang Clan’s 2015 one-of-a-kind release: Once Upon A Time In Shaolin. After accessing contentious foci within traditional copyright paradigms, I argue that classical models lack explanatory power, pose problems for understanding the transformations of copyright throughout history and fail to provide a comprehensive account of the present crisis. Taking inspiration from the reoccupation thesis presented by Hans Blumenberg and recent research in copyright I propose an alternative model rooted at the dialectic crux of property metaphors, audio technologies and formats, and neocapitalist commodity logic––all of which give shape to an internal transformation within copyright law and culture I term propertization.
Cartographies of Copyright is not a legal treatise, per se; rather, the work sees law as text set within a larger social milieu liable to change and evolution. Drawing from legal theory, cultural studies and media studies the work engages copyright from the perspectives of critical history, rhetoric, media-materiality and speculative economics. The multidisciplinary approach also stakes out new formations to the problematics faced by music historically and to draw connections between the music industries and the broader social contexts they are situated in.
Cartographies argues for a new lexicon to begin imagining alternative models to account for copyright’s transformations––ones better suited to imagining viable alternatives. It calls attention to the urgent need of public discussion concerning the role of copyright in contemporary music and culture and provides modest suggestions for thinking about the future of the copyright regime and the musical properties within it.

Keywords: copyright, property, intellectual property, propertization, culture, rhetoric, metaphor, reoccupation, media, format, platform, technology, economics.

The title of this chapter refers to an article by Rosalind E. Krauss from 1978, win which she describes the situation of sculpture as an artistic field of practice and in which 1) a large number of practices have come to be summarized under the category of sculpture, that bear hardly any resemblance to the traditional understanding of sculpture, and 2) that these practices are not associated with any particular media but that their relationship to a particular cultural situation allows a plurality of materials that has also been described as “eclectic”.
I argue that today – although almost 40 years later –, we have a similar situation in the field of music. Nowadays, many composers are working beyond the traditional boundaries of music, expanding into other media and practices, often of visual nature. What distinguishes these practices from other interdisciplinary projects is that these artists are realizing the visual or performative elements of their projects, themselves; or – if they collaborate with other artists – they usually have already developed a very concrete idea of the work as a whole independently of other artists involved. As it seems they are expanding into different practices without abandoning the idea that they are actually composing music. In other words: they are not attempting to deliberately turn themselves into artists of another additional discipline, but rather they are working from the understanding that sound alone does not suffice anymore, to express their musical ideas.

I consider this particular situation a relatively young development and I take the liberty to call Music in the Expanded Field. In this paper, I try to cast some light on the phenomenon of the expanded field from very disparate angles, ranging from aspects concerning the nitty-gritty details of compositional material to larger socio-cultural phenomena such as the formation and dissolution of discourses. My intention is to show that the approach which characterizes the practices in the expanded field entails changes that propagate on many different levels. As a form of “eventful aesthetics” practices in the expanded field are usually multilayered, not only because of their interdisciplinary nature but also because they are anchored in diverse discourses. They often break homogeneities, “speak” in different accents, and thus entail a shift in reception and perception. In my opinion, they are relevant because they form a particular response – though certainly not the only possible one – to the situation we live in today.

This book explores music- and sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the United States through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, remediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological and aesthetic tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of VJing.

El presente Proyecto Final de Master se centra en la ejecución de una instalación audiovisual tomando como eje la temática de la memoria personal y reflexionando sobre los diferentes procesos que participan en su construcción. Debido a la multiplicidad de aristas que presenta esta temática, nos detendremos, sobre todo, en las relaciones multidimensionales (hipertextuales/hipermediales) que efectuamos entre nuestros recuerdos, en las apropiaciones de material externo que incorporamos como propio a nuestro archivo mnémico y en la influencia que imprimen los medios audiovisuales en la construcción de nuestra memoria.

The notion of the convergence between sound and visuals emerged as an exploration of new digital processes, creative possibilities of media technologies and creation of new artistic artefacts. With advancements in technology, creative audiovisual practices employ explorations in technological processes, software experimentation and creative aesthetics that are pursued by most artists. Music plays a significant role in this combination of art forms, bridging and forming connections and relationships between visuals and sound. With the prominence of music in such practice, music producers have since taken steps to bridge their initial field of music across to an interdisciplinary audiovisual combination. This paper examines this form of audiovisual practice from the viewpoint of a musician - specifically a music producer or one that creates and produces his or her own music. This paper discusses current trends within audiovisual practice, highlighting relevant relationships and integrated technologies, along with the reasons, roles, and impact in terms of the artistic, economic, social and cultural aspects. A practical field research was also conducted in Berlin, Germany, where my findings from volunteering at an audiovisual arts festival are discussed within this paper as well. Future work would involve creating audiovisual works of my own, creating a sense of personal artistic practice in response to the results of this paper.

The main purpose of this thesis is to investigate on the translation strategies’ occurrence in legal drama and the way these strategies are applied to translate legal language.
The corpus consists of the first five episodes of fifteenth season of Law &Order SVU, which is a very valid example of legal drama. Legal drama is characterized by the legal context, in which the main part of the single episode takes place, and the fictional aspect, which leads us to the idea that the linguistic variety of legal English used in Courtroom Drama is not the prototypical variety.
Our main interest is to research on audiovisual products like legal drama to find out how the rules of Audiovisual Translation can change the way legal expressions are translated. In fact, we noticed that the medium of communication, which is television in this case, can alter the translation, because legal drama is not a product designed for an expert speakers’ audience. It came out that it is necessary to popularize, somehow, legal English.
In fact, Legal English has some features like, technical terms and archaic forms, that make difficult for those who do not belong to the professional community to understand specialized discourse. For this reason, legal language has to be popularized using strategies which purpose is to fill the gap between specialized discourse and the audience, as we can see in the corpus considered.

“A Photographic Thesaurus of El Bierzo. Photographic Memory and Audio-visual Reconstruction”, by Valentín Carrera González, is the title of a thesis dealing with the way a people’s historic memory can be reclaimed using old photographs.
Both the monographic and contemporary research was conducted in conjunction with the Castilla y Leon Film Library in Salamanca. The fieldwork was carried out in the El Bierzo region in the Province of Leon between 1990 and 1997 and led to the discovery of 1,600 previously unknown photographs which were duly catalogued and added as an appendix to the thesis and deposited in the film library. Some of the photographs in the library’s stocks have already been published in the two books entitled ‘Album of El Bierzo’ and ‘Album of Bembibre’ and were also used in the documentary ‘The Memory of El Bierzo’.
After a briefly going over the history of photography in Castilla y Leon and in El Bierzo, the first part of this thesis is given over to cataloguing and indexing the photographic documents involved (drawing up indices for the photographs, collections, postcards, according to their description, the materials, placenames, chronological order, etc.) as well as proposing a model for carrying out systematic research in order to draw up a complete inventory of a given area with the aim of saving old, as yet unknown photographs which may well be in danger of being lost and to hand them over, complete with the relevant details, to a public film library.
The second part goes on to explore the possibilities of creating new visual materials using old photographic documents using the process of “Audio-visual Reconstruction” which incorporates advanced digital technology, by placing the documents in question in their historical context and proposing new readings and new questions for these old images.
Other chapters deal with additional aspects such as intellectual property regulations (concerning authors’ rights over their photographic work as well as other photographs and audio-visual materials) and the protection which such documents are entitled to as a part of our historic and documentary heritage.
The thesis concludes by proposing a model for Audio-visual Reconstruction specifically designed to help recover historical memory both as a mark of individual and collective identity as well as a means of defence in the face of disasters and historical amnesia.

A critical commentary that presents and contextualizes a film and video making practice spanning three decades. It locates a contemporary visual music practice within current and emerging critical and theoretical contexts and tracks back the history of this practice to the author’s initial screenings of work as part of the 1980’s British Scratch video art movement.

At the heart of the body of work presented here is an exploration and examination of methods and working practices in the encounter of music, sound and moving image.
Central to this is an examination of the affective levels that sound and image can operate on, in a transsensorial fusion, and political and cultural applications of such encounters, whilst examining  the epistemological regimes such work operates in.

A combination of factors has meant that work such as this, arising in the UK provinces, can fall below the historicizing and critical radar – these include the ephemeral and transitory nature of live performance work; the difficulties of documenting such work; the fragility and degeneration of emerging and quickly obsolescent formats; and a predominance of a London–centric focus on curating, screening and historicizing of experimental film and video art practices.

The author's film and video practice has been screened nationally and internationally over three decades, and has been recognized as exemplary practice both in the early 1980s at the inception of the Scratch movement and in more recent retrospectives. The critical commentary argues that this work contributes new knowledge of the history, contexts and practices of film and video art and audiovisual and visual music practices.

The audiovisual history charted in chapter two is here revoiced in terms of spatial expansion. It is argued that video technology did not initiate a new form of creative engagement with its performance spaces, but rather represented the peak of a spatial expansion that had been gathering pace throughout the twentieth century. As musicians explored their spatial parameters and artists included time in their work, attention was drawn to traditional viewing and listening procedures. Drawing on the theories of László Moholy-Nagy, Siegfried Giedion, Christopher Small and Brian O’Doherty, this chapter compares the conventions of gallery exhibition and display, viewing procedures and audience behaviour with the customs and aesthetics of listening in the traditional concert hall. Performance and installation art, aleatoric music and communal composition are used to propose a theory of spatialised creativity, audience activation and performativity.

CCe travail de recherche vise à comparer les regards franco-africains sur un épisode de la période coloniale. L’étude sera basée sur l’analyse des trois oeuvres différentes, ayant pour sujet une mission coloniale particulière, appelée « Mission Afrique centrale » ou « Mission Voulet-Chanoine », qui s’éloigne du cadre de l’image « positive » traditionnellement associée à la colonisation dans l’imaginaire français. En particulier, il s’agira des films suivants :
• Capitaines des ténèbres (2004) de Serge Moati, un film de fiction télévisée tourné et cofinancé par France 2 et ARTE TV, et diffusée en 2006. 
• Sarraounia (1987) de Med Hondo, une fiction cinématographique, proposant la vision africaine de l’histoire.
• Blancs de mémoire (2004) de Manuel Gasquet, un film documentaire, dont le tournage a été conçu pour compléter la fiction de Moati et qui s’arrête aussi sur le point de vue des Africains.
 
A travers cette étude, j’envisage d’examiner les dynamiques entre les oeuvres des différentes époques, aussi bien celles entre le film, la société et ses traditions culturelles. En particulier, mon intention est de questionner le rôle que le cinéma peut jouer dans la construction de la conscience historique. Je vise à chercher, quelle vision l’oeuvre transmet à la société et à travers quelle forme, avec quelles traditions socio-culturelles cette représentation interagit et quel peut être son impact sur l’espace social dans lequel il s’inscrit.
Ce travail de recherche vise à comparer les regards franco-africains sur un épisode de la période coloniale.

To draw attention to a production method of image and sound, a number of viewpoints are proposed in this paper to do with cinematic traditions. This brings forth a privilege of contemplating images, within the sounds of electroacoustic music, images of a film, and language-based images in poetry. Engaging with the practice of recording the natural environment, traces of sound, image, and language may point to environments of distance.

The better quality pdf is downloadible from here: "http://www.leoalmanac.org/wp-content/uploads/2013/07/LEAVol19No3-Mailman.pdf
Through recent artistic practices and technology of interactive systems for music, composition and improvisation have more and more blended and interconnected with each other – a sui generis situation now called comprovisation. The concept of comprovisation applies equally well to the spontaneous generation and manipulation of computer graphics, especially as such graphics are systematically coordinated audio-visually, while being subject to spontaneous manipulation by a performer.
This is explained in terms of the Fluxations and FluxNoisations Human Body Interfaces, interactive dance systems that generate music and graphics spontaneously in response to hand and body movement. They enable spontaneous expressive shaping of coherent complexity and variety. Thus a multi-layered multimodal experience arises. The aesthetic experience of this multimedia spectacle relates to experiences of various prior music and visual art of the 19th, 20th, and 21st centuries, as well as to hypothetical physical realities. Thus a kind of cybernetic phenomenology of art is pursued and enacted through an embodied cybersynthesis of art with simulated alternate reality. Call it a pragmatic speculative realism, an adventurous technoetic ‘what if.’ As compared to more traditional forms of improvisation, the opportunities for risk-taking and aesthetic exploration rise to a new level of uncertainty, as the reactions of the improviser simultaneously draw from and target both visual and aural modalities, such that the intentions toward each fuse together."

Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas de seu formato mais hegemônico. Mas não se trata de lamentar a tela, muito menos a imagem. É o cinema sim, ou os fragmentos de sua constante expansão, flertando com outras possibilidades, esbarrando na vida. É a constatação de que não são mais apenas nas salas escuras, ocupadas por um público que compartilha cumplicidades tácitas, que o cinema acontece.

Há uma sugestão nas entrelinhas, de que libertar a imagem de suas molduras, a faz circular para além das convenções. Mas seria uma suposição simplista. O que aqui se reflete no ler e no imaginar (no fechar dos olhos, talvez) é um alargamento de linguagens, um diálogo geopolítico, a expansão de uma rede, em perspectivas que apontam não apenas para o visual, mas também para o textual, o interativo, o participativo, o sensorial, o portátil, o tempo real, o continuum das imagens.

Se um dos estigmas do cinema são suas crises anunciadas, há outras perspectivas latentes: num cinema como evento, no imbricamento entre processos (técnicos, logísticos, sensíveis), na engenharia de dispositivos, na reinvenção da gestualidade, em uma experiência cotidiana através das imagens — inclusive nas viagens promíscuas que o digital engendra —, que podem permitir ao espectador alguma experiência incomum em nosso momento contemporâneo. E se a disputa pelos modos de ver o mundo é um dos embates sensíveis da atualidade, a iniciativa (este livro e os acontecimentos que o gestaram) nos convence da importância de adensar debates e explicitar articulações, reconhecendo diferentes entendimentos sobre a tela e uma diversidade de expressões para além dela. As muitas ameaças ao cinema parecem fazê-lo cada vez mais onipresente, potente e múltiplo. (Lucas Bambozzi)

Todos nos hemos encontrado con productos audiovisuales que involucren imágenes digitales.
Por otro lado, Argentina goza de buen nombre en la producción de comerciales a nivel internacional y éste posicionamiento se debe a que asombran por sus contenidos, producción y manejo de la imagen digital.

RESUMO:
As videoHQesculturas são narrativas em movimento entre as linguagens artísticas da escultura, da história em quadrinhos e do vídeo. Nelas são comuns atos de tergiversar atribuídos a esculturas em ferro e papel, rodeios discursivos com palavras abstratas ou inventadas em seus balões de fala, que se constituem então como bases para um universo ficcional em construção, denominado “Tergiverso Ficcional”. Entre seus referenciais, são aqui abordadas o ga-nime “H.P. Lovecraft’s Dunwich Horror and Other Stories” (Toei, 2007), onde esculturas em argila atuam em sua estaticidade como personagens de contos de horror, e os “Aguagramas” da artista chilena Patricia Claro (2013), onde figuram caligrafias extraídas de reflexos de água corrente, num diálogo entre uma linguagem escrita intraduzível e durações de tempo videográficas.

- ABSTRACT:
VideoComicSculptures are narratives in movement between the artistic languages of sculpture, comics and video. Common to them are acts of tergiversation attributed to sculptures of iron and paper, discursive rodeos with abstract or invented words inside their speech bubbles, that constitute themselves as bases for a fictional universe in progress, named “Fictional Tergiverse”. Amongst its references, here we focus on the ga-nime “H.P. Lovecraft’s Dunwich Horror and Other Stories” (Toei, 2007), where clay sculptures stacticly act as horror tales’ characters, and the “Aguagramas” by chilean artist Patricia Claro (2013), where calligraphies are extracted from reflexes on running water, on a dialog between an untranslable written language and videographic time durations.

This dissertation studies four projects combining visuals, sound and interactivity by the author and André Carrilho (under the name Video Jack). The aim of the study is to create web-based interactive audiovisual art projects for integrated and simultaneous manipulation of sound and motion graphics, in a way that is coherent, flexible, easy to use, playful, and engaging to experience. From this study aim, three major research topics emerge: content, interactivity and experience.

The four projects included in the study are: Heat Seeker (2006), AVOL (2007), Master and Margarita (2009) and AV Clash (2010). The three last projects have adopted an Interactive AudioVisual Objects (IAVO) approach, introduced in this study, consisting of the integration of sound, audio visualization and Graphical User Interface (GUI). Following this approach, GUI elements are embedded in the visuals, and aesthetically integrated with the animation style and with the overall visual character of each project. These projects have been developed with a cross-platform perspective (performance, net art, non-interactive video, soundtrack and exhibition), and the study focuses on the net art versions.

The methodology for the dissertation is practice-based re- search, complemented by a user study. The background and motivation for the work are presented, and the projects are contextualized with related works. The study is framed within the  eld of audiovisual art, and connections are established between the projects and related concepts. The combination of audio, visuals and interaction is discussed.

The conclusions are grouped around six topics: content, interactivity, experience (the main research topics), project management, methodology, and future developments. Strengths and weaknesses detected in the projects are analyzed, taking into account the results of the user study. These are followed by more generic conclusions that aim to provide useful contributions to the  eld of interactive audiovisual art.

There is no denying that transmedia storytelling has been gaining increasing attention in recent media, literature, and game studies. Introduced in Henry Jenkins’ famous (though not aspiring to be groundbreaking) book Convergence Culture (cf. JENKINS 2006), the term has already appeared—to recall the most notable contributions—in media (cf. DENA 2009; SCOLARI 2009), game (cf. KLASTRUP/TOSCA 2004; THON 2009), literature (cf. WOLF 2012), television (cf. EVANS 2011) and, last but not least, narrative studies (cf. RYAN 2001; 2004; 2006; 2014), becoming, therefore, a hallmark of contemporary participatory culture. This instinctive association of transmedia studies with everything labeled ›new media storytelling‹ may be, however, one of the term’s few disadvantages. After all, what was the third edition of Thomas More’s Utopia (1516), if not transmedial? Indeed, the work entails a fantastic story (the imaginary voyage of Hythloday), fictional world-building (the foundation of the island of Utopia), concept art (the woodcuts by Ambrosius Holbein), metafictional augmentations (fictive poems, dialogues, and letters), and even a facsimile of the imaginary alphabet. This is possibly why more universally attributed transmedia studies could follow the path marked by Richard Saint-Gelais’ concept of transfictionality (cf. SAINT-GELAIS 2007; 2011), Marie-Laure Ryan’s distinctions between transmediality and transfictionality (cf. RYAN 2013), or even David Herman’s notion of the whole transmedial narratology (cf. HERMAN 2004).

The paper presents cultural, medial and design issues that emerged during the production of the video walk “Walk Explore Feel”. The point of departure of the paper is that walking is the thread that weaves together all phases of a media walk production. Walking is the initial research method for generating sensory data, which are then used to produce the route and content of the application. In the next phase, walking techniques both inform and are enriched by the audio-visual techniques used in the production and post-production of the video. Finally, walking both conditions and multiplies the uses of the mobile application, inciting locale-aware experiences.

The current paper investigates the aesthetic, sensory and live aspects of sound through the conceptual and cultural impact of the flaneur and psychogeography in contemporary and technologically mediated walking practices in the city. Various approaches based on the traditions of flaneur, psychogeography and performative walking as art have reverberated throughout the 20th century, yet mostly they have been founded upon the visual. Culturally speaking, these approaches have not only made walking a dynamic process of aesthetic, poetic, sensory and political potential, but have informed later contemporary art practices by revealing emerging hybridities. This paper proposes a modern hybrid flaneur/flaneuse of the 21st century city, whose approach reconsiders, ‘orchestrates’ and curates the sensory qualities of walking (i.e. sonic, tactile) through hybrid constellations of technologies (i.e. audiovisual, locative), socialities and performative methodological frameworks. While a number of artists are mentioned in this paper, the sound-based walking artworks of Christina Kubisch and Janet Cardiff constitute the main platforms for reflection.

/ AVAILABLE ONLINE HERE /  [FULL PAPER HERE]
https://www.leoalmanac.org/walking-the-senses-curating-the-ears-towards-a-hybrid-flaneur-flaneuse-as-orchestrator-bill-psarras/


/ REFERENCE THIS PAPER /

Psarras, Bill. “Walking the senses, curating the ears: towards a hybrid flaneur/flaneuse as ‘orchestrator.'” In Sound Curating. Cambridge, MA: LEA / MIT Press, 2018.

/ INFO /

Published Online: December 15, 2018
Published in Print: To Be Announced
ISBN: 978-1-912685-55-4 (Print) 978-1-912685-56-1 (Electronic)
ISSN: 1071-4391
Repository: To Be Announced

Esta tese apresenta uma reflexão sobre o ensaísmo no cinema, a partir de um olhar à série História(s) do cinema, produzida pelo cineasta franco-suiço Jean-Luc Godard entre os anos de 1988 e 1998, e exibida pela emissora de TV francesa Canal+. A inquietação que origina a pesquisa é a necessidade de melhor compreender o que significa um exercício de pensamento audiovisual, tão atribuído às obras fílmicas de teor ensaístico e à própria série de Godard, e ao mesmo tempo tão pouco problematizado. Esta preocupação norteou a elaboração das duas questões centrais em torno das quais a investigação orbita e ao mesmo tempo busca responder: como se constitui um pensamento por e com imagens? E que saberes a respeito do mundo histórico são engendrados pela escritura ensaística no cinema, no caso de uma obra como História(s) do cinema? O trabalho aposta num cruzamento entre os campos da Comunicação e das Artes e se insere num nicho de estudos ainda em construção no seio da pesquisa em cinema, que floresceu especialmente nas últimas duas décadas, e vem se dedicando aos produtos audiovisuais que fogem às convenções de gênero mais marcadas (a exemplo do ensaio fílmico). A estrutura da tese é composta por três partes: 1) Cinema, uma forma que pensa; 2) Montagem, essa bela inquietação e 3) Nem arte, nem técnica: um mistério. A primeira é dedicada à apresentação do conceito de ensaio fílmico e à discussão sobre a sua conflituosa relação com o método, a partir de escritos recentes de autores como Josep Maria Català (2014a, 2014b, 2014c) e Antonio Weinrichter (2007, 2009), bem como de textos das teorias do cinema em que foi identificado um devir-ensaio, como em Hans Richter (1940) e Alexandre Astruc (1948). Na segunda parte, é discutida a noção de pensamento visual, partindo principalmente das contribuições teóricas de Didi-Huberman (2011, 2013a) ao estudo das imagens e de algumas experiências de saber visual mapeadas e trazidas à tona, que funcionam como uma espécie de prelúdio à análise de Histórias(s) do cinema. São elas o Atlas Mnmemosyne de Aby Warburg, o museu imaginário de André Malraux e o trabalho de curadoria de Henri Langlois junto à Cinemateca Francesa. Na terceira parte, a série História(s) do cinema é analisada à luz do conceitos de gesto, em Giorgio Agamben (2008, 2012) – desdobrado em duas categorias: gesto arqueológico e gesto apropriativo –, e de visibilidade e legibilidade, em Didi-Huberman (2010, 2012b, 2013e), buscando identificar como se manifesta um exercício de pensamento audiovisual e como Godard pratica uma espécie de arqueologia crítica das imagens em sua obra. No entendimento a que se chegou com a pesquisa, o ensaio fílmico se baseia na exploração crítica do dispositivo e num pensamento por montagem, ambos traços constituintes de História(s) do cinema.

RESUMO
Com o objetivo geral de investigar a produção audiovisual e organização do coletivo Arte na Periferia, no contexto dos processos de territorialização por meio da arte na periferia sul de São Paulo, estabelecemos três objetivos específicos: 1) Discutir os usos do território no período da globalização a partir dos recortes espaciais propostos por Milton Santos, assim como pelas reflexões de Stuart Hall, Jesús Martín-Barbero e de outros autores do campo das artes visuais e das ciências humanas; 2) Dissertar sobre parte da produção artística contemporânea, levando em consideração aspectos relevantes de processos de criação em coletivos, da cultura digital e da arte e suas relações com os ativismos e movimentos sociais; 3) Discorrer e analisar de modo sistemático a produção artística do Arte na Periferia no contexto de sua territorialização na periferia sul de São Paulo, destacando o grau de intencionalidade de ações e conteúdos dos objetos em meio às condições técnicas dessas práticas artísticas. Para tanto, atividades de campo desenvolvidas através de vivências com o grupo e da realização de entrevistas, associadas à revisão bibliográfica, asseguraram as bases teórico-metodológica e empírica para a referida análise. Percebemos que o Arte na Periferia, em sintonia com outros coletivos contemporâneos, se apresenta como um exemplo de prática coletiva onde o ativismo político se manifesta através da arte, e se desenvolve em meio aos instrumentos técnicos de nosso tempo, trazendo a eles um novo uso e, por conseguinte, um novo sentido. Entendemos que o grupo em questão colaborou sobremaneira, através de suas produções audiovisuais e de sua forma organizativa, na articulação entre coletivos de arte, artistas autônomos, ativistas de bairro, movimentos sociais e moradores inseridos na referida movimentação artístico-cultural. Com isso, podemos dizer que o Arte na Periferia se apresenta na atualidade como um mediador dessas relações sociais pautadas por usos horizontais do território.

Palavras-Chave: Coletivos de Arte, Produção Audiovisual; Horizontalidades; Movimentos Populares; Periferia Urbana.


ABSTRACT
With the overall aim to investigate the audiovisual production and organization of the collective Arte na Periferia (Art in the Periphery), in the context of processes of territorialization through art on the southern outskirts of São Paulo (Brazil), it was set three specifics goals: 1) To discuss the uses of the territory during the period of globalization from the clippings space proposed by Milton Santos, as well as the reflections of Stuart Hall, Jesús Martín-Barbero and other authors of visual arts and the humanities; 2) To discourse upon the part of contemporary artistic production, taking into account relevant aspects of the collective processes creation, digital culture, art and its relationship with activism and social movements; 3) To discourse and analyze systematically the artistic production of the Arte na Periferia in the context of its territorialization on the southern outskirts of São Paulo highlighting the degree of intentionality of actions and content of objects in the midst of the technical conditions of these artistic practices. For this reason, field activities developed through experiences with the group and interviews associated with the literature review, secured the theoretical, methodological and empirical bases for examination. We noticed that the Arte na Periferia, aligned to other contemporary collective, presents itself as an example of collective practice where political activism is manifested through art, and develops among the technical tools of our time, bringing them a new use and therefore a new meaning. We understand that the group in question contributed greatly through their audiovisual productions and its organizational form, the articulation between collectives of art, independent artists, neighborhood activists, social movements and residents entered in that artistic and cultural movement. In conclusion, we can say that, nowadays, the Arte na Periferia, is presented as a mediator for these social relations guided by horizontal uses of the territory.

Keywords: Collective Art, Audiovisual Production, Horizontalities; Popular Movements, Urban Periphery.

Video art can be highly intermedial. The format allows image and sound to be recorded and projected simultaneously, giving the user the opportunity to create live, audiovisual work.  I argue that the type of audience engagement encouraged by video work has changed significantly since the medium became commercially available in 1965; and that we can understand these changes in terms of two contrasting forms of liminality.  The early period of video work was characterised by interactivity, intermediality and the closed-circuit feed.  These site-specific works were often included as part of multi-media events rather than appearing on their own as a unified genre: as a result, we can place the early years of video work within a temporal, historical liminality.  By contrast, more recent video pieces form a coherent, if varied, body of work.  Often shown on flat screens in darkened rooms, recent audiovisual video tends to offer predetermined audiovisual narratives that immerse visitors entirely.  Such works place visitors within a spatial liminality as they are asked to hover between video world and the space of the gallery.  This chapter suggests that, although context is vital to both early and more recent styles of video work, the activation of space and the audio-visual relationships enabled within it are nevertheless articulated and activated in very different ways.