Audiovisual Materialism

Zareei, Mo H.

doi:10.1017/s1355771820000321

Cited by 4 publications

(7 citation statements)

References 13 publications

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“…The process of revealing audio-visual content through a system of questions that can be answered through access to systems of harmony, musical form, texture, rhythm, and melody is at its core. The application of this method allows discovering new phenomena and their patterns in the audio-visual text (Zareei, 2020;Martinelli, 2020).…”

Section: Introductionmentioning

confidence: 99%

Script Structures in Modern Audio-Visual Art

Balaban¹,

Levchenko²,

Krupskyy³

et al. 2021

SMC

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Every last detail in a work of art of any scale depends on the correctness of its construction. This study reveals the essence of audio-visual text as an artistic area that develops and operates in the modern media landscape. The problem of determining the structure of the audio-visual script at the present stage of development was one of the most significant issues addressed in this study. The purpose of the study is to explore the main stages of creating a script for an audio-visual work as an intricate complex object that is the result of creative and production activities. The primary research method was the method of analysis, which managed to achieve the goal of discussing the current stages of creating and structuring the script of an audio-visual work. The task of compositional construction of the script for an audio-visual work is to unite its elements into one, giving the future work logic, harmony, and integrity. It was established which modern methods of writing a script are the most effective in practice. It was concluded that the use of modern methods of structuring the script in creating an audio-visual product contributes to its improvement as a work of art. The practical significance of the study is that the methodological basis of creating the script presented in this study can be used to construct any audio-visual product.

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Section: Introductionmentioning

confidence: 99%

Script Structures in Modern Audio-Visual Art

Balaban¹,

Levchenko²,

Krupskyy³

et al. 2021

SMC

View full text Add to dashboard Cite

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“…This aesthetic is encapsulated within the wider representation of audiovisual materialism -a set of sound-based practices providing a multisensory experience by embracing and utilising the symbiotic audiovisual relationship between the physicality and materiality of objects. [14] These are more fully discussed in section 2.4.…”

Section: Audiovisual Representationmentioning

confidence: 99%

“…This has been most evident in the use of recorded technology and the transformative qualities of the studio that disassociated sound from its source creating an "idealized form of absolute sound." [14] Rose sees the emergence of object-based sound installations as a reaction from sound artists that have sought to expose and foreground the sounding object as a significant part of their works by embodying the physical object as a key component of the sound-based…”

Section: The Artefact As Visibly Present Sound Object In Media Artmentioning

confidence: 99%

“…To this end, Zareei extends Rose's ideas, under the term "audiovisual materialism", to describe "sound-based practices that integrate some form of physical material, objects or artefacts, and fully embrace their visual qualities to provide multisensory experiences that are rooted in a synergy between the audible and the visible." [14] 2.5 A Representation for Media Archaeological Sound-based Art?…”

Section: The Visibly Present Artefact In Sound-based Brutalismmentioning

confidence: 99%

“…[15] The lens through which Zareei proposes viewing certain forms of sound-based art can be one perspective for extending media archaeology's material approach into a variety of sound-based disciplines. [14] A contemporary sound-based work engaging with the themes of media archaeology outlined by Parikka and Ernst's through an engagement with the artefact and with Zareei's audiovisual materialism is Morten Riis' Steam Machine Music (2010). Situating his work within post-digital glitch, Riis gives the machine's material physicality a pivotal role in its performance via an aesthetic of failure as a way to foreground the musical and mechanical errors associated with instability.…”

Section: The Visibly Present Artefact In Sound-based Brutalismmentioning

confidence: 99%

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Re-hearing the Past in the Age of Digital Re-Production A Sonification of Media Artefacts

Dunham¹

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The objective of this research is to reinterpret historic relationships between different forms of obsolete and contemporary media expressed through a series of sound-based art works. The research brings related artefacts, taken from different moments in time, into dialogue with each other by employing approaches and techniques drawn from media archaeology and data sonification. With sound no longer manipulated and rendered solely through digital audio software, each work expresses itself in each historically related artefact’s ‘voice’ through indexical relationships and the re-presentation of data. The primary contribution of this thesis provides a novel approach for methods of inquiry within a media archaeological idiom to the representation of historical media relationships expressed through sound. Following an investigation and critique of media archaeological approaches, its use in sound-based art and methods of representation, the research’s creative output focuses on the expressive materiality of the objects under inquiry. Such a transdisciplinary inquiry provides a new perspective for the re-presentation and representation of information. Each work explores the musicality of numeric sequences in space and time through rhythmic and spatialised patterns created by the absence and presence of data. As sound-basic music, the application of several access tools facilitated by data sonification are used to enhance audience perception and reception of the works. The works show that sonically interesting results can be obtained by creating abstract relationships between source data and the sounding object. The research establishes a framework in which the method of inquiry realises different outcomes. The framework utilises data sonification to defamiliarise one communication medium, the visual, before refamiliarising it within another medium, sound. Organising sound by using data sonification techniques as a media archaeological method facilitates the creative shaping of an historical narrative. As an approach to sonification within the field of auditory display, the works employ each artefact’s ‘voice’, or elements of it. Thus, the alternative representation of data as a media archaeological method of inquiry is used to achieve different outcomes unique in this research’s diversity of inquiry and intent.

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Phonospermia, Aesthesic Listening and Sonic Cosmologies

Costa

2024

Perspectives on Music, Sound and Musicology II

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Audiovisual Materialism

Cited by 4 publications

References 13 publications

Script Structures in Modern Audio-Visual Art

Script Structures in Modern Audio-Visual Art

Re-hearing the Past in the Age of Digital Re-Production A Sonification of Media Artefacts

Phonospermia, Aesthesic Listening and Sonic Cosmologies

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