Sound and Image

I have been working in the field of radio art, and through creative practice have been considering how the convergence of new media technologies has redefined radio art, addressing the ways in which this has extended the boundaries of the art form. This practice-based research explores the rich history of radio as an artistic medium and the relationship between the artist and technology, emphasising the role of the artist as a mediator between broadcast institutions and a listening public. It considers how radio art might be defined in relation to sound art, music and media art, mapping its shifting parameters in the digital era and prompting a consideration of how radio appears to be moving from a dispersed ‘live’ event to one consumed ‘on demand’ by a segmented audience across multiple platforms. Exploring the implications of this transition through my radio practice focuses upon the productive tensions which characterise the artist’s engagement with radio technology, specifically between the autonomous potentialities offered by the reappropriation of obsolete technology and the proliferation of new infrastructures and networks promised by the exponential development of new media. Switch Off takes as its overarching theme the possible futures for FM radio, incorporating elements from eight ‘trace’ stations, produced as a series of radio actions investigating these tensions. Interviews have been conducted with case study subjects Vicki Bennett, Anna Friz, LIGNA, Hildegard Westerkamp and Gregory Whitehead, whose work was chosen as being exemplary of the five recurrent facets of radio arts practice I have identified: Appropriation, Transmission, Activism, Soundscape and Performance. These categories are derived from the genealogy of experimental radiophonic practice set out in Chapter One.

El tratamiento y la exploración de los aspectos espaciales y dimensionales del sonido y su cuestionamiento, es un objetivo para la experimentación e investigación creativa con los elementos sonoros, convirtiéndose así en procedimientos ya habituales de manifestar el sonido como forma artística, independiente de la exclusivamente musical. Estas maneras de explorarlo han sido enmarcadas dentro de un tipo de arte sonoro, encontrándonos así una diversidad de propuestas, respuestas y resoluciones muy diferentes, pero que mantienen en común el tratamiento o mirada hacia su espacio y su dimensión, y que bajo intereses e intenciones comunes dentro del arte contemporáneo, se han ido integrando adecuadamente en él.

Se plantea así, un tratamiento de estos aspectos, propiedades referenciales muy cercano al pensamiento de John Cage, que planteaba además de la incorporación de los ruidos a la música, una noción de sonido expandido (noción equiparable a la evolución expansiva de otras artes) a partir de la incorporación sensible y conceptual de la espacialidad y la visualidad al campo sonoro, y también por su consideración del amplio universo de nuevos sonidos, que potencialmente, se abriría con el advenimiento de la electrónica a la música.

La necesidad de organizar, estructurar y contextualizar estos aspectos referenciales del sonido tiene por objeto fundamentar y centrar el trabajo experimental realizado y que se ha desarrollado en torno a ellos, por lo que la tesis que presentamos, tiene dos partes diferenciadas:
Una primera, en la que se contextualizan los dos ejes fundamentales considerados: el espacio y la dimensión sonora, tratando sus conceptos, aspectos y propiedades, así como sus manifestaciones artísticas consideradas más relevantes, desde el punto de vista de una observación tomada como referencia de la experimentación presentada.
Una segunda, en la que se presentan las experimentaciones y obras personales más significativas realizadas durante los últimos once años.

In this article I consider musical and other sonic constructions of queer identity in the television film, Angels in America (HBO, 2003).  I outline various queer strategies in the music and sound of the film, demonstrating how music and sound contribute to unfixed and unstable identities. The readings of the selected scenes in the film reveal the ways in which queer strategies operate, and how film music symbolises identity in flux.

Мета статті – визначити типові та своєрідні риси звукового образу програм регіональних
радіостанцій у світлі останніх тенденцій розвитку галузі. У науковій розвідці використано
метод аналізу актуальної наукової інформації з теми розвідки, що посприяло виробленню
її концепції. Було застосовано методи інтерпретації даних соціологічних, власне медіаме-
тричних,  досліджень,  моніторингу  та  порівняльно-зіставного  аналізу  звукових  образів
радіопрограм,  поданих  на  Десятий  конкурс  професійної  журналістики  «Честь  професії
2019».
Програми суспільного регіонального мовника, інтернет і FM-станцій активно використо-
вують так звані «тренди» мас-медійної галузі – жанрову гібридність, тяжіння до конвер-
гентності,  мультиплатформності,  візуалізації,  суто  технічної  доступності  до  слухача.
Програми Суспільного радіо відзначаються особливою часовою розлогістю, традиційною
для літературно-мистецьких передач колишнього державного радіо, стилістикою та ма-
нерою подання матеріалу, що з огляду на темпоритм сучасного життя викликає питання
стосовно їхньої комунікативної ефективності. Програмам регіональних інтернет-радіо, як
і  FM-станції,  притаманні  невеликий  хронометраж,  принцип  подання  матеріалу  «рви  та
читай»,  скупіший  за  виражальними  засобами  звуковий  образ.  Брак  у  фіналі  конкурсу
регіональних  радіомовників  непрямо  може  свідчити  про  певне  світоглядне  та  смакове
його відставання від лідерів галузі. 
«Традиції» в конструюванні звукового образу радіопрограми усталені самою практикою
щоденного  інформування,  що  спрощує  та  прискорює  виробництво  продукту.  Водночас
типовість і шаблоновість у роботі не сприяє зростанню авдиторного зацікавлення радіо як
джерелом актуальної та цікавої інформації.
Ключові слова: радіомовлення; радіопрограма; звуковий образ; тренди журналістики.

City of Noise tours the sonic space that orchestrated the different, often conflicting, sound cultures that defined Paris's street ambiance. Mining accounts from guidebooks to verse, the book braids literary, cultural, and social history to reconstruct a lost auditory environment.

La siguiente investigación busca ser un entrelazamiento de los conceptos Sonido ,Memoria y Territorio, teniendo por objetivo ser un aporte a la identidad del Maule a través de la representación de su sonoridad. Por tanto, la investigación busca ser una nueva forma de dibujar el territorio a través de la representación gráfica del Maule, ocupando la sonoridad como medio de exploración. La investigación pone en valor el análisis y la representación de la dimensión perceptual del espacio, en este caso a través de la exploración de la sonoridad, entendiendo que existe una espacialidad sonora compuesta por varios elementos distribuidos en el territorio y que la investigación propone explorar sus formas de representación. Creando de esta manera un lenguaje propio, a través de cartografías que recuerdan tanto a planimetrías arquitectónicas como a partituras musicales contemporáneas.

Generally speaking, technology may be considered a cornerstone of twentieth century life, especially in the Western World. However, because there seems to be a need for a healthy and wide appreciation of industrial and socio-cultural issues that relate to technology in general and audiovisual archives in particular, this article basically proposes to give some thought to this. Some of the issues include education and university-industry partnerships, problems of manufacturers and users, standardisation, and obsolescence of products.

'Loud' is the word that most easily springs to mind when one describes the soundtrack of the archetypal Hindi film. The main purpose of sound is to heighten the melodrama, to imbue the hero with a mythic aura through blood-and-thunder dialogue. What, then, is the role of sound effects in the composite soundtrack and how are they conceived? Drawing from conversations with several sound professionals and filmmakers, Gautam Pemmaraju gives us an insider's view of effects production and aesthetics during the analogue era of sound production in Hindi cinema. From the age of the talkies he takes us through the dubbing era to the digital age, when technology brought about a radically different tone, texture and timbre to contemporary sounds.

Obiettivo di questa breve analisi è anzitutto dimostrare che anche in un film prettamente musicale -come Whiplash- l’utilizzo del sonoro non è secondo all’utilizzo del montaggio video, ma al contrario svolge un ruolo di fondamentale importanza per la narrazione e la caratterizzazione dei personaggi. In secondo luogo si cerca di evidenziare il sapiente utilizzo delle moderne tecniche di sound design, adottate dal regista Damien Chazelle assieme al team audio per conferire un estremo realismo al film, nonché per potenziare il significato di numerose scene.

Terrence Malick's Days of Heaven (1978) has been hailed as 'one of the most beautiful films ever made', but the film's immense cinematic beauty has detracted from the impact of its experimental soundtrack. Drawing on interview material with editor Billy Weber (who worked on all three of Malick's films), the original screenplay of Days of Heaven and detailed sequence analysis, the paper examines the film's manipulation of the traditional relationship between sound and image. Indicating that Malick's experimentation with sound largely developed in post production, Weber confirms that the dialogue-heavy screenplay was transformed in the cutting room with the addition of Linda Manz's haunting voice-over. Ridding the film of dialogue created a different emphasis on sound and Weber's states that he and Malick were disappointed that this aspect of the film was critically overlooked. This article redresses this lack of critical recognition, whilst arguing that it is reflective of the general under-theorisation of sound within a body film theory and criticism which tends to emphasise the visual image. With reference to Jean-Louis Comolli, Mary Ann Doane and Kaja Silverman, amongst others, I underpin my discussion of sound in Malick's film with a look at the wider context of the marginalised position of sound within film theory.

Cited in Thomas Deane Tucker and Stuart Kendall (eds),Terrence Malick, Film and Philosophy, Continuum Int. Publishing Group, 2011.

Minerva Campos Rabadán (2020), "Educación audiovisual y Cultura audiovisual en la ESO y el Bachillerato".
Dossier "Cultura audiovisual, cine y educación en el Bachillerato, la Formación Profesional y los estudios universitarios", Minerva Campos Rabadán y María Luisa Ortega Gálvez (coords.).
Tarbiya. Revista de investigación e innovación educativa, nº 48, pp. 53-72.
https://revistas.uam.es/tarbiya/article/view/tarbiya2020_48_003/13168

Este artículo analiza la presencia que contenidos y competencias vinculadas a la comunicación y la cultura audiovisuales han  tenido  en  la  educación  secundaria  en  España  desde  que,  en  1990,  la  Ley  Orgánica  de  Ordenación  General  del  Sistema Educativo (LOGSE) estableciera el modelo y la estructura actuales.

Contemporary Indian films, in their essentially digitalised realms, incorporate techniques such as the location-based multitrack “sync” recording, and surround sound design that reorder the organization of cinematic sound. These practices contrast with the earlier mono- or stereo formats by reconfiguring the linear construct of a soundtrack to produce a spatially evocative sonic environment that engages the listener with a more life-like auditory experience of the fictional site. Using significant examples from post-2000 Indian films, this article shows how earlier production practices are being replaced by “sync” sound recording and surround sound mixing with a richly spatial arrangement of site-specific ambience. The article argues that these layers of ambient sounds lead to audiences establishing their embodied experience of presence in regards to the fictional site via auditory spatial cognition and immersion in a cinematic soundscape. By situating contemporary sound production practices within the various trajectories of Indian cinema, this article contributes to the broader field of research on the key developments in constructing spatial environments for cinema.

The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and production. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.

We see the reflected, opaque image of the female protagonist on the right, or so we are led to believe, the features of the image are not perfectly clear and defined, on the background something intelligible passes rapidly from the right to the left.

Meggendorfers have been regularly acclaimed by collectors as invaluable items due to their brilliance and rarity and have been routinely cited by scholars as examples of early movable illustrations in children's literature. vii While Meggendorfer has recently received a great deal of attention, he was neither the first nor only innovator of moving picture books. The London publishing firm of Thomas Dean in the 1850s and 1860s and the German publisher Ernest Nister (1842-1909) have been equally credited with advancing techniques in paper engineering and color printing. viii Under the name Dean & Son, the London firm produced movable hand-colored lithographic illustrations in diverse children's books. It certainly claimed to be the "originator" of "amusing colored children's books" in advertisements. ix These books employed a variety of locomotion, including slat-3 transformations, whereby four horizontal bars that together completed a picture were replaced by pulling a tab that slid four new bars over the original image to create a new scene-one image was seen to "dissolve" into another scene. In Dean's Little Red Riding Hood, dated around 1855, the pull of a ribbon threaded through metal grommets raised a pop-out panorama of the key events. It produced a peepshow of layered cutouts, creating a three-dimensional illusion. x The firm priced such books between one and four shillings, and held a "virtual monopoly on movable books for many years." xi Another force in this field, Ernest Nister, began his printing business in Nuremberg in the final quarter of the nineteenth century. He then expanded into the Anglo-American market, opening a publishing house in London in 1888 and partnering with New York publisher E. P. Dutton and Company. He subsequently became best known for his Englishlanguage children's books still produced in Nuremberg. xii Nister employed a team of predominately British illustrators, who produced a distinctive style of cherubic children and anthropomorphized animals in idealized nature, and authors. In comparison to Meggendorfer's books, Nister's, like Our Darlings' Surprise Pictures and Come and Go: A Book of Changing Pictures, both employing slat transformations, appear sentimental. The illustrations were "extremely well-executed oil-color print[s]," xiii and the mechanics of the dissolving pictures as well as the pop-up panoramas that opened with the simple turn of a page were impressive. They have found their well-deserved admirers today and have been reproduced by the Philomel division of Putnam. xiv Like Nister books, Meggendorfers

Recent years have witnessed an increasing scholarly interest in the phenomenon of the music video, even to such an extent that some of the recent works point to a paradigmatic ‘music video turn’ that could be tentatively defined as research into music video’s digital production, circulation platforms, and distribution channels, as well as its new media formations. Drawing on the latest research in audiovisual studies and putting the contributions of this special issue, entitled "Music video in Transformation" in dialogue with each other (Steven Shaviro, Carol Vernallis, Lisa Perrott, Tomáš Jirsa, Mathias Korsgaard, Anders Liljedahl), this introductory essay argues that music video has become a highly popular laboratory of digital innovations and new media experiments reaching an ever-growing audience and creating its own internet dispositif in the form of YouTube. It also provides several useful concepts for the research of three dominant music video areas: production, reception, and distribution.

Once regarded as what Michele Hilmes has described as the "bad object" of academia, television now enjoys a prominent place in higher-education curricula and is the subject of numerous scholarly books, anthologies, and journals. 1 As the fi eld of television studies has grown, so too have its methods and orientations, from founding industry-and policy-oriented research in journalism and mass-communication departments to textualist and culturalist approaches inspired by engagement with critical Marxist and feminist theory, British cultural studies, and fi lm studies. Scholars such as

My thesis project explores how cinematic space can be articulated within an acoustemological framework. Re-situating cinema within a sonic – rather than a visual – ontology affords a capacity for privileging sensory and sensual forms of mediation that have been for the most part subsumed by the dominance of the image. Transmissions from the Technological Sublime is an audio-visual work comprising seven audio channels (comprising six regular speakers arranged in a hexagonal array and one subwoofer) as well as a durational, large-scale, 3D animated video projection employing an extra-wide aspect ratio of 16:3.
This project draws upon an expanded notion of sound as a medium that is not only vibratory but also anamnetic, encompassing the immaterial as well as the tactile and manifesting itself as topological, temporal and subjective. It also approaches the idea of space as a site that embraces the cognitive and cultural, and that can thus be similarly apprehended as both imaginary and substantive. Building upon a broadened approach to field-recording as a central research methodology and deploying the affective and tactile capacities of sound to bring a fictional, animated environment to life, the project seeks to engender an awareness of space that is vibratory, textural and evolving, rather than merely perspectival or fixed.

There is a hierarchy of sound and image in films but that is not a natural one. There are moments in the history of cinema when a rupture occurs in the process and sound affects us more than visual. The lack of discussion on film sound is alarming with respect to that. This paper interrogates the conditions of such an absence and the complexities of such a denial, which in itself might be an unspeakable rule. In more ways than one, such denials create the absence of a theoretical framework and linguistic tools that would render the articulation of film sound possible. This paper argues that this is not merely a case of negligence or lack of research material, but there is a pattern to such denial.

A chapter that I published in 2014, “Who’s Calling? Lady Gaga’s ‘Telephone’, Female Vocal Empowerment and Signification”, examined the ways in which women’s historical relationship with telephone technology was highly inflected by cultural expectations for the sexes. It also sought to demonstrate that some of the evidence for this relationship, or interrelationship, could be traceable in songs themselves, songs that explicitly feature telephone calls. This is a short article discussing its main content, research context, and sharing some additional thoughts about the song.

The Word document has hyperlinks to relevant literature.

The relationship between the visual and the acoustic worlds has been a historical exploration in the arts, physics, as well as psychology and neuroscience. In multimedia, the analysis of their cross-modal relationships and the formal relationships that do not take into account the narrative or meaning in film, are not a developed field in multimedia analysis today. To approach this subject, in this study we have analysed the Toccata & Fugue in Dm sequence of the music film Fantasia (1940), by Walt Disney. This is one of the first cases of commercial abstract imagery combined with music, and a unique film in its audiovisual relationships. We have approached the analysis in two ways: first, using a descriptive strategy, starting with Chion’s masking method and highlighting where the multimedia interacts or fails to do so, and then extracting visual and aural data of the sequence manually and digitally, and assembling a chart with these descriptors, inspired by Eisenstein. Our results have shown that this sequence is purely governed by music. We did not find steady general rules as to formal audiovisual relationships. Intensity was found to be one of the most repeated audiovisual congruences, interpreted by loudness in sound and luminance in vision. No significant sound to visual relationships
were found regarding timbre. Even though our results are specific to this case, this paper can serve as one more stone in the path to a different kind of filmic analysis.

The Conversation, directed by Francis Ford Coppola is about the power of sound and how mishearing events can lead to dire consequences, and, to a further extent, about detective Harry Caul's (Gene Hackman) inability to connect with other people. The pivotal point in the film is when Harry, while listening to recordings of the couple, hears the young man speak a line that makes Harry believe the couple is about to be killed. The use of certain editing and sound techniques in this scene builds our understanding of the detective's personality and of his predicament, and of how he uses his machinery to analyze what he hears. Harry's unfortunate mishearing of this couple's conversation, and his unwillingness to try to understand other people, leads to a suprise ending and fateful consequences.

Sensory studies are important to develop an understanding of the relationship between people and the environment and to see the need to relate buildings and the spaces between them. Stimuli from the sense organs are transformed into perception through processes that take place in mind and they are signified by mechanisms, interpreted, and thus perception occurs. The aim of this study is to introduce a way to obtain sensory information from the spatial environment, to understand and realize the methods to express the results of such an experience visually. A case study is conducted with first grade architectural students in Haskoy, Beyoglu in order to acquire auditory knowledge from the environment and to visualize them. The case study consists of three steps: understanding the issue of environmental sounds, acquiring environmental sounds with direct experience, and visualizing the data as forms of sense-maps using various techniques.

Comic books are known to be ,silent media’, featuring no acoustic modes of representation. Yet, many techniques have been developed to express audible qualities by ,graphic’ means. Five domains of sound representation can be heuristically distinguished, from the more ,textual’ to the more ,pictorial’ end of a continuum: narration boxes and speech bubbles, sound words and pictogrammatic symbols, and, finally, the evocation of sound by purely pictorial means. Tracing some of the media-specific tensions between these domains and conventions, this article provides a ,seismograph’ to comic book vocabulary from the complementary perspectives of semiotics, narratology, and media studies.

Sanayi devrimi ile birlikte insanların içinde yaşadıkları çevre dönüşüme uğramıştır. Ekonomik büyüme ve üretim ekseninde insanların yaşamlarını sürdürdükleri kentlerin peyzajları hem görsel hem de işitsel olarak bir önceki yüzyıldan farklı olarak değişmiştir. Buhar motorlarının,
dökümhanelerin, fabrikaların ve otomobillerin çıkardıkları tüm sesler ile insanlar artık daha sesli bir ortamda yaşamaya başlamışlardır. Yaşam alanlarının değişen ses çevresi ile birlikte, insanın çevresini nasıl algıladığı da değişikliğe uğramıştır. Bu çalışma insanın çevresini sesler
üzerinden nasıl algıladığını ve tanımladığını inceleyerek gürültü kavramını açıklayacaktır. İşitsel peyzaj olarak gürültü kavramı, çağdaş sanat içinden gürültü kavramını ele alan üç güncel örnek üzerinden incelenerek açıklanacaktır.

The study of music from the earliest past draws upon iconography and archaeology, and any attempt to understand the earliest acoustic ecologies requires some level of approximation based on material artefacts. Participants are invited to offer embodied, experiential, phenomenological, creative, practice-based and practice-led research that explores the sonic contexts of prehistory and antiquity. These explorations may consider the examination of sound-producing objects and musical instruments, acoustics of performance spaces, or role of sound in rituals, ceremonies and everyday events. Research is welcomed that uses digital technologies in (re)constructions of ancient soundscapes, and explorations of sonic textures drawing upon iconographic, archaeological and literary sources. Also considered may be performances or other artistic content, whether focused on musical, sonic, performance or visual arts. They should provide information about the source material which has created the basis of the work, but subsequently freely engage with performative explorations.

This article examines the aesthetic use of sound in Satyajit Ray’s films to retrace his position in Indian cinema as a reference point in the practices of synchronised monaural sound. Ray is traditionally considered to be an auteur and a cultural icon – his legacy being on the fringes of popular mainstream Indian cinema. The specifics of sound practice and the nature of sonic experience in his films, however, remain largely under-explored. In this context, I argue that Ray’s treatment of sound in his films highlights a recognition of listening to place by means of a keen observation and recording of the site in monaural synchronised sound practice, which has created a precedence for realistic auditory settings later championed by Indian filmmakers in the contemporary digital era. Investigating how Ray’s use of ambient sounds contributes to establishing an auditory setting and to constructing a sense of reality in his films, this article suggests that Ray initiated a tradition of audiographic realism in Indian cinema, which had hitherto been predominantly vococentric since the coming of sound in the 1930s. By situating Ray’s sound work within the longer trajectories of sound practice in Indian cinema, this article contributes more widely to the global histories of film sound, and illustrates the diverse threads and traditions that comprise monaural sound practices beyond the more commonly mapped territories of European and American film history.

Jean Ma’s book is more than a scholarly exploration of sound and music in Chinese cinema. Referring to existing studies on sound, music, and voice in cinematic traditions, while paying special attention to the configuration of the role of the songstress in Chinese cinema, her analysis also relates to theories in feminist film studies, effects of sound technology in filmmaking, complexity in the visual and/or vocal performance, and actual practices in Shanghai cinema before 1949 and Hong Kong’s Mandarin cinema after 1949.

Investigación de carácter exploratorio, que propone una aproximación a la problemática del sonido cinematográfico desde una vertiente a la vez teórica y práctica. El ensayo toma como punto de partida el concepto del sonido como fenómeno de la naturaleza, para analizar posteriormente su lugar en la historia de las texnologías de representación, detenerse en la problemática de la banda sonora como parte constituyente del texto fílmico y, finalmente, analizar el contexto de recepción del filme, esto es, el espectador y las salas de exhibición.

Recent years have seen not just a revival, but a rebirth of the analogue record. More than merely a nostalgic craze, vinyl has become a cultural icon. As music consumption migrated to digital and online, this seemingly obsolete medium became the fastest-growing format in music sales. Whilst vinyl never ceased to be the favorite amongst many music lovers and DJs, from the late 1980s the recording industry regarded it as an outdated relic, consigned to dusty domestic corners and obscure record shops. So why is vinyl now experiencing a 'rebirth of its cool'?

Dominik Bartmanski and Ian Woodward explore this question by combining a cultural sociological approach with insights from material culture studies. Presenting vinyl as a multifaceted cultural object, they investigate the reasons behind its persistence within our technologically accelerated culture. Informed by media analysis, urban ethnography and the authors' interviews with musicians, DJs, sound engineers, record store owners, collectors and cutting-edge label chiefs from a range of metropolitan centres renowned for thriving music scenes including London, New York, Tokyo, Melbourne, and especially Berlin, what emerges is a story of a modern icon.

Endorsements & Reviews:

“Vinyl is a state-of-the-art treatment of an unforgettable object and medium that raises many of the issues central to contemporary anthropology. Its subject-matter should make it appealing to students and general audiences, while its theoretical sophistication makes it relevant to scholars of music, technology, popular culture, and cultural objects.” –  Jack David Eller, Anthropology Review Database

“Bartmanski and Woodward have created a masterpiece that any record lover should have on their shelves” –  Record Collector magazine

“Bartmanski and Woodward … provide meticulous detail as to how materiality matters … Bartmanski and Woodward divide their book into chapters that fervently trace various aspects of vinyl: its history, its functionality and use as a medium, its production and physical properties, and its consumption. In each chapter, they attend to the materially mediated cultural meanings within which vinyl is entangled.” –  Robin Bartram, Northwestern University, Qualitative Sociology

“Vinyl culture is back, and it’s even more vibrant than it was in its heyday, before digitalization. Bartmanski and Woodward take us to the epicentres of this revolution, and let those who are behind it tell us about their passions for this iconic medium. This is an exemplary study of the social and sensory life of things." - David Howes, Professor of Anthropology, Concordia University, Montreal, Canada

“In the age of the digital, with the ubiquitous smart phone and MP3 technologies providing consumers with instant access to global sounds irrespective of where they are, Vinyl explores the persistence of an old technology within the production and consumption of music. In doing so it demonstrates the complex ways in which material objects form a meaningful part of our everyday lives – not just through the sounds of vinyl but by how it feels and looks. The text is beautifully written, impassioned, yet critical. Welcome to the world of the post-digital.” –  Michael Bull, Professor of Sound Studies, University of Sussex, UK.

“A passionate ode to the analogue record, and testament to how vinyl embodies the content it mediates, with each record's unique journey etched into the material” –  Hillegonda C. Rietveld, The Times Higher Education

This article analyzes audio-visual works by Im Heungsoon, the first Korean winner of the Silver Lion award at the 56th Venice Biennale in 2015, in terms of an aesthetic figure, the 'per/sona.' Originally indicating a mask, 'persona' not only refers to the sound coming through the mouth but also the act of sounding (-sonare: to sound) through (per-) it (as a verb). In this paper, the term alludes to the figure of various masks found in many of his works, as well as multifaceted political and aesthetic implications such gaps and disparity between image, sound, and subtitles create. Through a series of different approaches -- emphasizing a temporal gap through two channel projections, reversing film or the image file, superimposition, and last but not least, use of persona and performance via 'alternative reenactment' -- Im poses the following question through his works: ‘At its most fundamental level, can History be perceived aesthetically?'

Within the context of contemporary Hollywood film music production; this thesis explores the use and application of technology for orchestral composition, orchestral music recording, through to the final delivery and integration of music on the dubbing stage. It also looks at the impact of technology on the entire post-production process and explores alternative ways for a more integrated filmmaking experience between director and composer. This empirical research was successfully applied to the production of two Hong Kong feature film scores for Election 2 (2006) and After This Our Exile (2006) and the production of the first Hong Kong film orchestral scoring session at Shaw Studios on the 22nd of February 2007.

RESUMO Este trabalho pretende discutir os procedimentos utilizados pelo técnico de som direto na captação para filmes de ficção. É dividido em dois capítulos. O primeiro traz uma breve contextualização do ofício. O segundo descreve os procedimentos adotados por mim na captação de som do curta-metragem“Rosa e Benjamin”

The basic hypothesis of the study was that space is associated with particular sonic characteristics, which can be identified and grouped according to different emergences and designations of the architectural space. The study objective is to present and consolidate the knowledge on criteria related to Soundscape design in architecture.

Critical review of current literature reveals that the field of Soundscape design is far from being consolidated; a lack of interdisciplinary approach that proposes a comprehensive practical methodology of design and a neglect of characterizing Soundscape design criteria, particularly in the Spatio-Temporal design context.

At the first stage, the study defines and identifies the sound-space characteristics which have been addressed in the theoretical architectural discourse. The method was used is based on analysis and synthesis of the main theoretical tendencies which discuss the 'sound/space' relationship. As a result, 15 characteristics and features of sound-space were identified; Auditory Perception, the Diagram,  Structure of Time, Experience, Sonic Happening, Interaction, Immateriality vs. Materiality, Echolocation, Aesthetics\Synesthesia, Semiotics, Sense of Place, Association and Memory, Neutrality, Mood, and sonic identity/branding.  The findings show that the more the relationship between space, sound and listeners is complicated in a certain space, the more the space dense and consist of diverse characteristics.

Finally, a comparison was done between the theoretical conceptualization of the characteristics and their utilization in design practice. In this stage, a preliminary strategy is taken on; an 'observation' and search for the vocal significance of the sound-space in five-precedent sampling; how does the meanings of the sound become associated in the space? How the configurative characteristics of the space influence the sound in return? And how people relate to their sonic space?

The study presents five design criteria of the sound-space: diagrammatic/ dynamic structure, immersion scale, interdisciplinary, interactivity, and listening/hearing. Those design criteria were performed in three modes; mode of thoughts, mode of expression and mode of production, i.e. from conception to making.

This study contributes and takes part in the contemporary discourse on sound-space design. The findings reveal a new developing of 'sound architecture', which is being carried out by extraordinary sound-space conceptions, interdisciplinary involvement, and timeless representation. This was accomplished by an exposure of a new lexicon, which has enough to draw the outline of the sound-space design field and has enough to lay down the foundation stone for the "Architecture of the IPod's generation"

Infographic modified on 29 June 2022 after spontaneous creation on 28 June 2022 and posted at https://www.healthythinking.substack.com/p/appreciating-the-structures-and-interconnections; this is the author’s own perspective, without citation to or derivation from other works. Updates posted at https://www.healthythinking.substack.com and published in updates to Inflammation Mastery textbook: https://www.inflammationmastery.com