Month: November 2023

In “Dimensions of Dialogue,” Jan Svankmajer skillfully employs sound as a crucial element to complement and enhance the visual narrative, incorporating the terminologies of diegetic and non-diegetic elements into his audio design.

The diegetic sounds within the film emanate directly from the animated objects and characters. For instance, the clinking of utensils and the malleable movements of clay figures produce diegetic sounds that are synchronized with the on-screen actions. This diegetic quality adds a tangible and immersive dimension to the animation, reinforcing the connection between the visual and auditory aspects of the film.

Simultaneously, Svankmajer incorporates non-diegetic elements, introducing sounds that are external to the animated world. These sounds, such as ambient music or effects, are not directly tied to the on-screen actions but contribute to the overall atmosphere and emotional tone of the film. The integration of non-diegetic elements creates an audiovisual illusion, where the viewer’s auditory experience extends beyond the confines of the depicted narrative.

The audio design in “Dimensions of Dialogue” contributes to the added value of the film. By blending diegetic and non-diegetic sounds, Svankmajer enriches the viewer’s engagement, offering a multisensory experience that goes beyond the visual spectacle. The auditory elements evoke a range of emotions, further emphasizing the empathetic and anempathetic responses intertwined with the surreal visual narrative.

In conclusion, Svankmajer’s meticulous use of diegetic and non-diegetic sounds in “Dimensions of Dialogue” showcases how the audio component adds significant value to the overall cinematic experience. This integration of sound with the visual narrative contributes to the film’s unique audiovisual illusion, reinforcing Svankmajer’s status as a pioneer in the realm of surrealist animation.

My visit to Trinity Buoy Wharf to witness Jem Finer’s Longplayer proved to be a remarkable experience. This composition, initiated on January 1, 2000, with a planned duration of 1000 years, captivated my attention for various reasons. What struck me most was the ambitious scope and foresight inherent in Finer’s creation. Longplayer extends beyond a mere musical piece, serving as a testament to human ingenuity and our capacity to conceive art on an extraordinary timescale. The idea that this composition will unfold and resonate over a millennium challenges conventional views on the transitory nature of artistic endeavors.

Considering Steven Connor’s “Ears Have Walls,” Longplayer provides an intriguing counterpoint to the visually-centric nature of typical gallery art. While traditional gallery experiences often prioritize visual elements, Longplayer relies exclusively on auditory sensations and unfolds over an extensive period. This requires a distinct mode of engagement, challenging the immediate visual gratification prevalent in conventional art encounters.

Connor’s concept of “Ears Have Walls” gains relevance in the context of Longplayer. The durational aspect of this sound artwork encourages listeners to transcend metaphorical walls that may confine auditory perception. It prompts heightened awareness of the sonic environment and fosters a deeper connection to the evolving composition. In contrast to visually-led art experiences, Longplayer demands patience and openness in line with Connor’s exploration of the auditory realm.

In summary, my encounter with Longplayer at Trinity Buoy Wharf was a captivating exploration into the intersection of time, sound, and artistic vision. It reshaped my perceptions about the transient nature of art, highlighting the potency of durational sound art to transcend conventional boundaries. Longplayer invites listeners to immerse themselves in a profound sonic experience that defies the constraints of a gallery’s visual emphasis.

The need to regulate sound behavior played a crucial role in advancing architectural acoustics, prompting people to adopt a more discerning listening approach. This desire for control stemmed from growing concerns about noise, as traditional sources like animals, street vendors, and musicians were increasingly drowned out by the technological noise of modern urban life. A focus on efficiency also contributed to this drive, demanding the removal of unnecessary elements, including superfluous sounds. Furthermore, control functioned as a tool for decision-making in a market saturated with auditory goods, allowing both producers and consumers to establish criteria for ‘good sound’ and evaluate whether specific products met these standards, Thompson(2002, pp. 118)

Bibliographic Entry for the Original Source:

Thompson, Emily Ann. (2002) ‘Sound, Modernity and History’, Sound, edited by Caleb Kelly, 117-120.