Category: itSA

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.

La Monte Young – Composition 1960 #5 (1960)

“Composition 1960 #5” stands out as a crucial creation by the American composer La Monte Young in 1960, representing a moment in the evolution of contemporary music and experimental art. Young, a key figure in the Fluxus and Minimalist movements of the 1960s, is often linked with the emergence of drone music and minimalist composition.

Examining the historical context, Young’s exploration of sustained tones and simplicity in “Composition 1960 #5” showcases his inclination towards pushing artistic boundaries. This piece involves the prolonged execution of a single pitch, foreshadowing the later development of drone music. The 1960s witnessed a transformative period in both art and music, marked by experimentation and a rebellion against established norms. Composers like Young challenged conventional ideas, pushing the limits of what could be defined as a musical composition.

Considering its relation to Post-Modernism, “Composition 1960 #5” and Young’s overall body of work are regarded as precursors to post-modernism in music. Despite emerging in the modernist era, Young’s emphasis on minimalism, repetition, and a rejection of strict rules aligns with post-modern tendencies.

Post-modernism in music, gaining prominence in the 1970s and beyond, embraces eclecticism and blurs the lines between different styles and genres. Young’s minimalism and exploration of sustained tones anticipate these post-modern characteristics.

The piece captivates me due to its challenge to traditional musical and sonic concepts. The simplicity and extended duration of a single tone create a meditative experience, prompting listeners to engage with the sound differently than with traditional music.

Young’s pioneering work, particularly his focus on sustained tones and minimalism, has left an indelible mark on a broad spectrum of musicians and artists. The interdisciplinary nature of avant-garde art in the 1960s, as exemplified by the fusion of art and music in Young’s creations, adds an extra layer of fascination.

In essence, “Composition 1960 #5” acts as a bridge between the modernist and post-modernist musical eras, encapsulating the experimental and boundary-pushing spirit prevalent in the 1960s. Its historical significance continues to inspire and challenge artists and listeners, making it a fascinating composition.

Bernard Leitner, who is an sound art practitioner based in New York, used sound and space as material to build installations with his architectural background, hence interpreting the concept of “corporeal” hearing. His first work Soundcube in 1969 was a walkable cube with 384 loudspeakers lining its six inner walls. By conducting distinct routes of functioning, several unique immersive auditory perception for the body were generated.

He was considered a pioneer of the art form of “sound installation, which “serves to shift attention from the visual to the acoustic level of the installation.” His works embraces the modernist ideas about challenging traditional modes of perception and engaging the audience the viewer with more immersive experience. When the visitor is no longer needlessly diverted by visual stimuli, their attention to sound naturally intensifies. This can be seen as part of the broader trend of exploring new artistic mediums and pushing the boundaries of traditional art forms, aligning the characteristics of modernism and avant-garde approaches.

His works intrigued my initial interest in Sound Arts as it incorporates elements like sound, space, and time into his works and creates a tension of endlessness. The installations are denying to be fully consumed by the audience which is different from conventional performance that has explicit starting and ending. What’s more, by providing the experimental journey of “corporeal listening”, it challenges the common sense of aural perception of the audience and commits to the exploration both aurally and visually.

My initial interest in sound art was intrigued by sound installations created by Bichopalo. The organic combination of nature’s randomness, machinery and human intervention harmonize, with the icing on the cake visual presentation of video editing, eventually nurturing the playfulness of his work.

In addition, devices such as Bamboo and PlantWave work as multimeters that transfer electric signals detected from plants into pitch, giving every life entity a chance to generate sound. Packt Like Sardines In a Crushd Tin Box- Radiohead inspired me to collect sound samples and made my first sound related work. As I have only explored my own art practices in a more visually concentrated way so far, I am looking forward to getting in touch with those technology and to discovering what sonic aspect could bring to enrich the information my work could transfer.

Sound Arts to me is more likely to be a possibility, a new channel, medium, and approach for expression– It can be anything related but not limited to sound. It is the bridge between pure music and pure visual art, and can be experimental, annoying, and free. I am interested in the history of sound arts as it is a multidisciplinary and niche genre in fine art and expecting to equip essential skills to compose my own sound piece and fulfill my expression with the intervention of sound.