Recent Changes

Tuesday, February 21

  1. page Woloshen edited Steven Woloshen's Selected Bibliography: http://s…

    Steven Woloshen's Selected Bibliography:
    Experimental Sound in Film
    This annotated bibliography is a survey of sound thinking and academic advancements in avant-garde filmmaking from 1960 to the present day. This period of experimental audio/visual strategies begins with Stan Brakhage’s comments on sound in film from his self-titled article, “The Seen.” and his letter to Ronna Page in 1966. Although he advocates silence, he has openly recognized the efforts of filmmakers Peter Kubelka (Adabar), James Boughton and Kenneth Anger for bringing an innovative use of sound techniques to the lexicon of avant-garde filmmaking.
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    8:53 am

Thursday, March 11

  1. page Sanna edited ... Environment, Sound, and Voice Intuitively appreciating that sound in Film is more than a mere…
    Environment, Sound, and Voice
    Intuitively appreciating that sound in Film is more than a mere compliment to the visual image, I am presently attempting to confront the limitations of an 'accompaniment approach' to the use of sound in filmmaking. Believing that artistic expression is always in some way a reflection or reframing of our human experience, the following proposition of texts and films stems from my desire to firstly better understand the 'essence' of sound as a phenomenon of everyday life.
    resonate with thethis fundamentally aural aspectsaspect of experience that becomebecomes 'voiced' in our consciousness through nature, people, things, imaginationpeople and spirit.things.
    Beck, Guy L. Sonic Theology: Hinduism and Sacred Sound. Columbia: University of South Carolina Press. 1993.
    "Suzanne Delehanty." Soundings. 1981
    UbuWeb. UbuWeb Papers: From SOUNDINGS, Neuberger Museum, SUNY Purchase, 1981.
    Concise essay on the entrance of sound into the plastic arts (in the 20th century) with emphasis on heard/unheard, outer/inner, phenomenon/spirit perspectives of artists (Baudelaire, Kandinski, Cage). Outlines transition of Greek (Pythagoras, Heraclitus) attitudes on sound and music through to Renaissance and Modern era. Through sound, human experience becomes both subject and object of art.
    Ihde, Don. Listening and Voice: Phenomenologies of Sound. 2nd Edition. Albany: State University of New York Press. 2007.
    Updated and expanded edition of 1976 groundbreaking study of sound. Addresses experience ranging through language, music, religion, and silence. Although written from a "phenomenological" perspective, writing remains accessible to the layperson interested in exploring and surveying the experience of 'listening' and 'voicing'. Offers a solid claim for sound as alternative to the predominance of visualism in Western thinking. Gives detailed views of the importance of the auditory in perception and in creation of meaning. Engages reader to question and verify his or her own conceptions of listening from Ihde's descriptive personal examples. Introduces many provocative ideas such as focus, fringe, and horizon within listening and how listening functions within a receptive-perceptive relation to the World. A highly stimulating read providing in depth perspectives on the auditory dimensions of human experience.
    Hans Kayser – The Science of Harmonics
    Web site dedicated to dissemination of work of Hans Kaiser – 20th century scientist who explored the fundamental principals of Pythagorean Harmony. Includes sections on Harmonics that relate directly to sound: Language ("acoustically, we communicate all our thoughts and aspirations; in short, it is what makes us human.), Music Theory, as well as many other sections such as Cosmogony, and Nature. Site includes many provocative visuals and Bibliography of Kaysers Publications.
    Mookerjee, Ajit. Tantra Art: Its Philosophy and Physics. New Delhi: Rupa. 1967.
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    5:44 pm

Monday, May 11

  1. page Fulton edited ... Voice! That, too, is launching forth and effusion without return. Exclamation, cry, breathles…
    Voice! That, too, is launching forth and effusion without return.
    Exclamation, cry, breathlessness, yell, cough, vomit, music. Voice leaves. Voice loses.
    - Helene—Helene Cixous
    The following bibliography represents my first foray into the study of the voice in cinema. My research has been particularly focused upon examining how recent studies of the voice in cinema are inflected with feminist and psychoanalytic theory. My focus falls specifically upon the asynchronous voix-off, insofar as this alternative acoustic register makes space for an account of feminine subjectivity more or less occluded in cinematic discourse. However, I have attempted to provide ample articles to situate this theme within a broader framework of sound theory. What follows therefore represents a provisional taxonomy of recent studies regarding the role of the voice in cinema. Key issues covered include the problem of the relative perceptual and representational value placed on sound relative to image, the locus and gender of the acoustic subject with regard to the voice, the spatiality and perspectival contribution of sound, the relation of voice to language, speech and discourse, the problem of the body as material origin of vocality, and the textual and ideological implications of synchronization. Whereas studies devoted to voice-off frequently place emphasis on the content of the dialogue and its signification in relation to narrative development, I find those studies that focus on the 'other side' of the voice: its grain, its difference, its non-sense, particularly engaging. The voice is - after all - an intrinsically ambiguous subject. The voice is irreducibly temporal, irreducibly corporeal: it traverses and effects elusively - without being seen.
    Essential Reading:
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    9:50 pm