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Marty, Marlène

doi:10.4000/books.pupvd.11068

Puerto Limón (Costa Rica) 2012

DOI: 10.4000/books.pupvd.11068

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Marlène Marty¹

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2016

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“… 4 For studies about listening behaviours in this framework (with the distinction between empathic, figurative and taxonomic behaviours), see Delalande (1989, 2010, 2013), Anderson (2011), Alcázar (2015), Marty (2015a), Marty and Terrien (2015). …”

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Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

Marty¹

2016

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International audienceDrawing on Deleuze’s work about cinema (the ‘movement-image’ and the ‘time-image’), this article explores formal and aesthetic resonances with sound-based music, distinguishing between aesthetics of energy, articulation and montage, and aesthetics of contemplation, space and virtual relations. A second perspective is given, focusing on how listening behaviours may impose a ‘movement-image’ or a ‘time-image’ lens through which we could experience and remember a work’s form. This is exemplified with a short analysis of the first section of Chat Noir (1998–2000) by Elizabeth Anderson

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Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

Marty¹

2016

Org. Sound

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Cited by 1 publication

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Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

Deleuze, Cinema and Acousmatic Music (or What If Music Weren’t an Art of Time?)

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