Sound and Image

Code:

SI311

Acronym:

SI

Keywords
Classification	Keyword
OFICIAL	Fine Arts/Multimedia

Instance: 2015/2016 - 2S

Active?	Yes
Web Page:	http://si.blog.virose.pt
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	37	Official Study Plan 2011	3	-	4,5	51	121,5

Teaching language

Suitable for English-speaking students

Objectives

Specific:

• To study the relations between sound and image, especially in the context of visual arts and film. 

• To analyze, also within an historical frame, the interactions between the aural and the visual through plasticity.

• To study the sensory correspondences between sound and image.

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

• To explore the particularities involved in the plasticity of sound.

• To present the basis for a theory of sound and image from the perspective of cinematics.

 

General:

• To encourage the use of transversal methods of research and analysis of the chosen case studies.

• To encourage autonomy of research and critical analysis.

• To encourage the crossing with work made in other areas and with the personal work of each student. 

Learning outcomes and competences

In accordance with the objectives and methodologies presented here.

 

Working method

Presencial

Program

 

 I. Matches and mismatches between the sonorous and the visual.

a. Histories, genealogies and problems. Some notes.

• Mirrors and echolalia in classical mythology.
• The muses. Music, poetry and the visual arts.
• The notion of synesthesia and the intersection between the arts.
• Sensory correspondences and structural equivalences.
• Images of sound and sounds of the image. The color of sound.
• Silence and noise. Materiality and immateriality.
• Hallucinations of the eye and ear. Blindness and deafness.
• The birth of the modern viewer and the convergences between sound and vison.
• Gesamtkunstwerk. A synthesis of the arts.
• Brief archeology of the technologies of sound and image.
• Sound, image, text. Gramophone, Film, Typewriter (F. Kittler).
• Avant-gardes, autonomy and abstraction.
• Sound Objects (Schaeffer and Chion)
• Mediation. The notion of intermedia
• A short history of sound in the visual arts
• Sound and Vision on television and video.
• The electronic revolution (W. Burroughs).

b. An introduction to audio-vision. Sound and image in film and video (through Chion, Gorbman and others).

• The audio-visual illusion.
• Film: from silent to sound.
• Text and voice. Music and noise. Images.
• Effects anempáticos and empathetic.
• Other effects: Overlays, superimpositions, anticipations ...
• Synchrony and diachrony. Consonance and Dissonance.
• Diegetic, non-diegetic and meta-diegetic sounds.
• The functions of silence.
• Time and motion. Horizontality and verticality.
• Time and space, sound and image.
• Listening point. The spatial sound.
• The three listening modes: causal, semantic and reduced.
• Acustmatic sounds, seen and unseen sounds and further categories.
• Sound, image and montage.
• Codes and reproduction media.
• Analyses of case studies and illustration.

 

II. Sound and vision in the visual arts: Current perspectives

a. Six chosen topics. -

• Plasticity on sound and image.
• The thickness of the media. Corporeality of sound and image.
• Sound and space. Site cartographies: specificity and context. Soundscapes.
• The digital: modularity, automation, variability and transcodification. Untraductibility between sound and image.
• Clicks, pops, drops and glitches: an accidental topology of sound and image.
• The expanded field of Sound Art

 

Mandatory literature

Centre George Pompidou; Sons & lumières. ISBN: 2-84426-244-9 55.65
Centre George Pompidou; Sonic process. ISBN: 2-84426-098-5 47.90
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
Deleuze Gilles; L.^image-temps. ISBN: 2-7073-1047-6 20.05
Deleuze Gilles; A^imagem-movimento. ISBN: 972-37-0958-9 20.00
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
Youngblood Gene; Expanded Cinema, P. Dutton & Co., Inc, 1970

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
Cage John; Silence. ISBN: 0-8195-6028-6 36.75
Cage John; For the birds. ISBN: 0-7145-2691-6
Cage John; Empty words. ISBN: 0-8195-6067-7 30.69
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
Comer, Stuart; Film and Video Art, London, Tate Publishing, 2008. ISBN: 978-1854376077
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
Gere Charlie; Digital culture. ISBN: 1-86189-143-1 24.00
Foster, Hal, Ed; Vision and Visuality, Dia Art Foundation, 1988
Foster Hal; The return of the real. ISBN: 0-262-56107-7
Furlong William; Audio arts. ISBN: 1-85490-363-2
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
Virilio Paul 1932-; War and cinema. ISBN: 0-86091-928-5
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

Comments from the literature

A few more references cand be found at <htttp://si.blog.virose.pt>

Teaching methods and learning activities

Classes are organized preferably in seminar mode. On the one hand, through lectures where we will present the main topics of the program, trying to clarify fundamental concepts and practices; on the other, classes will be organized around the review and discussion of texts and audiovisual material. These two types of classes will be merged and their methodologies used in a complementary manner, implying a broad illustration of the proposed topics.  To follow classes it is important to read the recommended texts as well as the additional viewing of the major case studies presented.

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 escrito	50,00
Trabalho laboratorial	40,00
Total:	100,00

Eligibility for exams

Attendance ≥ 75%

To follow the presentations calendar in accordance with the schedule presented at the beginning of the semester.

Calculation formula of final grade

Written Paper and its presentation - 50%;
Practical work and its presentation - 40 %
Attendance, participation- 10%

Examinations or Special Assignments

Presentaion 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 case study from film, video or sound art .

Practical work should be audio-visual and in relation to the subject of the written work.

Classification improvement

Sim

Observations

Erasmus Students are welcome. The classes are held in portuguese but we screen a lot of audio-visual material and it is always possible to deliver an abstract in english in the end of each class

By appointment.: Tuesday 11.30 to 12.30. Thursday, 11.30 to 12.30.