Sound and Image

Code:

SI311

Acronym:

SI

Keywords
Classification	Keyword
OFICIAL	Fine Arts/Multimedia

Instance: 2019/2020 - 2S

Active?	Yes
Responsible unit:	Fine Arts Department
Course/CS Responsible:	Fine Arts

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
AP	25	Official Study Plan 2011	3	-	4,5	51	121,5

Teaching language

Suitable for English-speaking students

Objectives

Specifics:

• Explore environments that allow simultaneous performance of images and sounds as malleable environments for creative expression and self-awareness.

• Study the relationship between sound and image, especially in the context of the fine arts and cinema.

• Analyze, from a historical point of view, the interactions between sound, visual and plastic.

• Study the sensory correspondences between sound and image.

• Contextualize the interactions between sound and image within contemporary artistic production.

• Explore the specifics of a sound plasticity.

 

General:

• Encourage the use of cross-sectional research and analysis methods of the chosen case studies.

• Encourage research autonomy and critical analysis.

• Encourage cross-referencing with work done in other curriculum areas and with student project work.

Learning outcomes and competences

In accordance with the objectives and methodologies presented here.

 

Working method

Presencial

Program

1. SOUND AND IMAGE

• Historical review of the sound of moving images.

• The subjectivity of sound in film narrative.

• Sound effects in cinema: taxonomy and analysis of examples (sound focus, depth of field, out of field, hearing mask, overlay, lead-in, local and environmental effects, fidelity, slow motion, dreamlike and meta-diegetic).

• Functional music for sounding moving images.

• Musical-Visual Systems of the pre-computational age.

• Matching sound, music, light and image: From Oskar Fischinger and Norman McLaren to Christopher Bauder and Nonotak.

• Image sonification and sound visualization.

• Mapping sound and visual data: mapping possibilities between MIDI, audio, video, space and color.


2. SOUND

• Acoustics Basics:

- audible spectrum;

- sound production / generation;

- propagation and perception; sound waveforms, frequency, amplitude, phase, envelope, sine function, units of measurement; Doppler effect; fundamentals of psycho-acoustics, height, volume, timbre and hearing curves.

• Listening modes and sound objects.

• Digital sound representation: - A / D conversion fundamental concepts on signal digitization, sampling frequency and quantization accuracy of a sound wave;

- Nyquist's theorem, aliasing and folding;

- memory, storage and formats with and without compression.

• Acoustic sound waves and synthesis sound waves:

- interaction between sound waves;

- sine waves and musical sounds; simple harmonic movements; complex tones; Harmonic tones.

- waveforms (sinusoidal, sawtooth, triangular and recatangular)

• Digital beep processing.

• Digital audio synthesis and digital signal manipulation:

- synthesis of new sounds (sound synthesis by amplitude modeling, frequency modeling and granular synthesis;

- amplitude envelope (ADSR);

- digital processing of audio signals;

- recording;

- sequencing.

• Generic filter types:

- high pass, low pass, band pass and band rejection.

• MIDI Basics

• Sound composition and mixing.

• Sound spatialization and multichannel composition.


3. IMAGE

• Semiological aspects of audiovisual language:

- image in the audiovisual space, scale of plans, groups of plans (action and expression), framing and camera positions;

- film language, camera movements, types of camera movements (functional and descriptive);

- cinematic punctuation, links between planes;

space - time articulation, continuity, types of raccords, axes of action;

- Assembly.

• Classic examples in the history of video art:

- Andy Warhol, Bruce Nauman, Chantal Akerma, Chris Burden, Christian Marclay, Cory Arcangel, Dan Graham, David Hall, Gary Hill, Gillian Wearing, Joan Jonas, John Baldessari, Joseph Beuys, Lisa Steele, Marina Abramovic, Martha Rosler, Nam Jun Paik, Peter Campus, Peter Weibel, Pipilotti Rist, Richard Serra, Vito Acconci, William Wegman, Wolf Vostell.

• Movie picture, TV picture and video picture.

- formats;

- Loans, adaptations, reuses and separations.

• Video image:

- video camera and signal characteristics;

- digital video, digitization, compression and formats.

• Basic lighting for video recording:

- Fill light, cutout light and key light.

• Video image as algorithmically manipulable matrix:

- video processing and synthesis.

• Video image as a matrix capable of representing various types of information such as video image, still image, three-dimensional geometry, particle systems or audio.

• Digital video image analysis for motion detection and 'presence' detection; 'Computer vision' and fiducials.

• OpenGL, figures, volumes, NURBS, color system, lighting types, drawing commands, drawing controllers, material qualities and textures.

Mandatory literature

Centre George Pompidou; Sonic process. ISBN: 2-84426-098-5 47.90
Centre George Pompidou; Sons & lumières. ISBN: 2-84426-244-9 55.65
Almeida Bernardo Pinto de 1954-; Imagem da fotografia. ISBN: 972-37-0180-4
Altman Rick; Sound Theory/Sound Practice, Routledge, 1992. ISBN: 978-0415904575
Basbaum Sérgio Roclaw; Sinestesia, arte e tecnologia. ISBN: 85-7419-222-8
Bosseur, Jean-Yves; Sound and the Visual Arts: Intersections between Music and Plastic Arts Today, Dis Voir, 1993
Bosseur Jean-Yves; Sound and visual arts. ISBN: 2-906571-26-1
Burroughs William; A^revolução electrónica. ISBN: 972-699-419-5
Crary Jonathan; Suspensions of perception. ISBN: 0-262-53199-2
Chion Michel; La^voix au cinema. ISBN: 286642-004-7
Chion Michel; L. audio-vision. ISBN: 2-09-190704-9
Grilo, João Mário; As Lições do Cinema:Manual de Filmologia, Edições Colibri/Universidade Niova de Lisboa, 2007. ISBN: 972-772-705-6
GORBMAN, Claudia; Unheard Melodies: Narrative Film Music, Indiana University Press, 1987
Illes Crissie, Ed.; Into the Light: The Projected Image in American Art 1967-1977, Whitney Museum of American Art, 2001
Jullier Laurent; El sonido en el cine, Paidós, 2007. ISBN: 978-84-493-2027-9
Kahn Douglas; Noise, water, meat. ISBN: 0-262-61172-4
Kittler Friedrich A.; Gramaphone, film, typewriter. ISBN: 0-8047-3233-7
LaBelle Brandon; Background noise. ISBN: 0-8264-1845-7
Labelle Brandon; Martinho Cláudia (Eds.); Site of Sound #2: Of Architecture and the Ear, Errant Bodies Press, 2011
Licht Alan; Sound Art: Beyond Music, Between Categories, Rizzoli, 2007
Lund, Cornelia and Lund, Holger (Eds.); Audio.Visual - On Visual Music and Related Media, Stuttgart, Arnoldsche Verlagsanstalt GMBH, 2009. ISBN: 978-3-89790-293-0
Mouëllic, Gilles; La música en el cine, Paidós, 2011
Mulder Arjen; Understanding Media Theory: Language, image, sound, behaviour, V2_Publishing/NAi Publishers, 2004
Sichel, Berta, Ed. ; Primera generación: Arte e imagen en movimiento (1963-1986), Museo Nacional Centro de Arte Reina Sofia, 2006
Schulz Bernd, Ed; Ressonances: Aspects of Sound art, Stadtgaleie Saarbrücken/Kehrer, 2002
Crary Jonathan; Techniques of the observer. ISBN: 0-262-53107-0
Benjamin, Walter; A Modernidade, Assírio & Alvim, 2006. ISBN: 9789723711646
Berger, John; Understanding Photography, Penguin, 2013. ISBN: 9780141392028
Didi-Huberman Georges; Falenas. ISBN: 978-989-98924-6-0
FLUSSER,Vilém; Towards a Philosophy of Photography , Reaktion Books, 2007. ISBN: 978-1861890764
LE GOFF, Jacques; “Memória”. In Enciclopédia Einaudi, Tomo 1. , Imprensa Nacional Casa da Moeda, 1984. ISBN: 9789722700801
PAÏNI, Dominique; – “Pour une petite histoire de la projection”. In Projections, les transports de l’image, Hazan/Le Fresnoy/AFAA, 1998. ISBN: 978-2850255700
PALLASMAA, Juhani ; The Architecture of Image: Existential Space in Cinema, Building Information Limited, 2001. ISBN: 9789516826281
PANOFSKY, Erwin ; “Style and Medium in the Motion Pictures” (1936) in Film Theory and Criticism: Introductory Readings, Oxford University Press, 1974. ISBN: 978-0195365627
YATES, Frances Amelia ; The Art of Memory , Pimlico, 2010. ISBN: 978-1847922922

Complementary Bibliography

Adelmo Luiz; Manzano Fernandes; Som-imagem no cinema: A experiência alemã de Fritz Lang, Perspectiva, 2010. ISBN: 978-85-273-0681-2
Adorno Theodor; El cine y la musica
Almeida Ana Paula; O^universo dos sons nas artes plásticas. ISBN: 978-972-772-707-0
Attali Jacques; Noise. ISBN: 978-0-8166-1286-4
Barbosa Álvaro Mendes; Displaced soundscapes
Brougher Kerry 205; Visual music. ISBN: 0-500-51217-5
Campany, David (Ed.); The Cinematic, The MIT Press/White Chapel, 2007. ISBN: 978-0-262-53288-4
Campen, Cretien van; The Hidden Sense: Synesthesia in Art and Science, The MIT Press, 2007
Celant Germano; Maraniello Gianfranco; Vertigo: A Century Of Multimedia Art From Futurism To The Web, Museo d’Arte Moderna di Bologna/Skira, 2007
Chion Michel; Le son au cinéma, Cahiers du Cinéma, 1985
Chion Michel; Músicas, media e tecnologias. ISBN: 972-8329-96-2
Chion, Michel; Guide des objets sonores, Paris, Éditions Buchet/Chastel, 1983
Chion Michel; Le Son, Nathan, 1998
Chion, Michel; Un Art sonore, le cinéma. Histoire, esthétique, poétique, Cahiers do Cinema, 2003. ISBN: 978-2-8664-2364-3
Costa José Manuel 340; Arte sonoro. ISBN: 978-84-96917-69-9
Costa, Luís; Costa, Rui; Three Years In Nodar: Context-Specific Art Practices in Rural Portugal, Edições Nodar - Binaural, 2011
Foster, Hal, Ed; Vision and Visuality, Dia Art Foundation, 1988
Foster Hal; The return of the real. ISBN: 0-262-56107-7
Kittler Friedrich A.; Literature media. ISBN: 90-5701-061-5
Grieveson Lee 340; The^silent cinema reader. ISBN: 0-415-25284-9
Hall Doug; Fifer Sally Jo; Illuminating Video - An Essential Guide to Video Art,, Aperture Foundation, 1990
Hanhart John, Ed; Video Culture - A Critical Investigation, Visual Studies Workshop Press, 1986
Husslein-Arco Agnes 340; Les^grands spectacles. ISBN: 3-7757-1656-4
Kittler Friedrich A.; Discourse networks 1800-1900. ISBN: 0-0847-2099-1
Labelle , Brandon; Roden, Steve; Site of Sound: of Architecture and the Ear, Errant Bodies Press,, 1999. ISBN: 978-0965557023
Labelle, Brandon; Martinho, Cláudia; Site of Sound: Of Architecture and the Ear. Vol 2, Errant Bodies Press, 2011. ISBN: 978-0982743904
Lévi-Strauss Claude; Olhar ouvir ler. ISBN: 972-41-1374-4
Lovink Geert 340; Video vortex reader. ISBN: 978-90-78146-05-6
Magnan Nathalie 340; La^vidéo, entre art et communication. ISBN: 2-84056-047-X 19.34
Manovich Lev; The^language of new media. ISBN: 0-262-63255-1
Packer Randall; Jordan Ken; Multimedia: From Wagner to Virtual Reality, W. W. Norton & Company, 2001
Parfait Françoise; Video. ISBN: 2-84105-133-1 44.40
Parkinson David; History of film. ISBN: 0-500-20277-X
Perniola Mario; Enigmas, o momento egípcio na sociedade e na arte, Bertrand Editora, 1994
Pigeat Jean-Paul (ed); L''oreille oubliée, Centre George Pompidou, 1982
Ribas Luísa; Sobre o papel do som no audiovisual
Rees A. L.; A^history of experimental film and video. ISBN: 0-85170-681-9
Sider Larry, Ed.; Soundscape - the school of sound lectures 1998-2001, Wallflower Press, 2003
Sorlin Pierre; Estéticas del audiovisual, La Marca Editora, 2010
Sterne Jonathan; The^audible past. ISBN: 0-8223-3013-X
Toop, David (Ed.); Sonic Boom: The Art of Sound, London, Hayward Gallery, 2000. ISBN: 978-1853322082
Viveiros Paulo; A^imagem do cinema. ISBN: 972-8296-93-2
Zielinski Siegfried; Audiovisions: Cinema and Televison as Entr’actes in History, Amsterdam University Press, 1999
EISNER, Lotte H.; La Pantalla Demoniaca , Cátedra, 1996
ELKINS, James ; Pictures and Tears, Routledge, 2004
AAVV; Aperture Magazine, #231, Summer 201 — Film & Foto, Aperture. ISBN: 978-1-59711-434-9

Comments from the literature

Other bibliographic references will be mentioned during the course. According to each work orientation, other books, articles and texts will be suggested. The filmography will be listed during the course period.

Teaching methods and learning activities

. Proposal for the development of two works indicated by the professor, guidance and consultancy.

. Visualization, analysis and commentary of internationally recognized artworks, highlighting their production and dissemination strategies.

. The work process of students takes place during student working hours and during contact hours with teachers.

. Laboratory practice aiming the materialisation of the proposed work.

. Presentation and documentation of works produced by the students.

Software

http://si.blog.virose.pt

keywords

Humanities > Arts > Fine arts > Plastic arts
Humanities > Arts > Visual arts

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	10,00
Trabalho laboratorial	45,00
Trabalho prático ou de projeto	45,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Frequência das aulas	45,00
Total:	45,00

Eligibility for exams

Attendance ≥ 75%

To follow the presentations calendar in accordance with the schedule presented by the professor.

Calculation formula of final grade

Work 1 - 45%;
Work2 - 45 %
Attendance, participation- 10%

 

Examinations or Special Assignments

Presentation of two interconnected works, one written and a second ione of practical nature,according to the schedule of orientation, delivery and presentation established in class.
 

The written work (max . 2500 words) should be on a course topic.
Practical work should be audio-visual.

Classification improvement

Sim