sonore
visuel

histoire et actualité
des arts sonores
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Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art

Visualising Music explores alternative models of music-image relationship in film and video art, investigating how the boundaries of cinema can be challenged, both practically and theoretically, by a redefined audio-visual interaction. The first half of the book considers the significance of music in several types of non-Hollywood film, including the work of Werner Herzog and Derek Jarman. Building from here, the second half explores the expanded spaces of video installation art, with close reference to the immersive musical sites of Bill Viola.

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The Oxford Handbook of New Audiovisual Aesthetic

This handbook offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics.

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The Visual Music Film

Adopting an interdisciplinary approach, The Visual Music Film explores the concept and expression of musicality in the visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony.

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Abstract Video: The Moving Image in Contemporary Art

Offering historical and theoretical positions from a variety of art historians, artists, curators, and writers, this groundbreaking collection is the first substantive sourcebook on abstraction in moving-image media. With a particular focus on art since 2000, Abstract Video addresses a longer history of experimentation in video, net art, installation, new media, expanded cinema, visual music, and experimental film.

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The Oxford Handbook of Sound and Image in Western Art

The Oxford Handbook of Sound and Image in Western Art examines, under one umbrella, different kinds of analogies, mutual influences, integrations and collaborations of audio and visual in different art forms. The book represents state-of-the-art case studies with key figures of modern thinking constituting a foundation for discussion. It thus emphasizes avant-garde and experimental tendencies, while analyzing them in historical, theoretical, and critical frameworks.

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VJ : Audio-Visual Art and VJ Culture

A major change has taken place at dance clubs worldwide: the advent of the VJ. Once the term referred to the video jockey who introduced music videos on MTV, but now it defines an artist who creates and mixes video, live and synced to music, in clubs or at concerts.

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vE-jA: Art + Technology of Live Audio-Video

vE-jA is a global snapshot of an exploding genre of tech-art performance: VJing and live audio-video. The book covers 40 international artists with 400+ colour images and 50+ movies and clips on an accompanying DVD and web downloads.

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Cinesonica: Sounding film and video

Cinesonica: sounding film and video explores previously neglected and under-theorised aspects of film and video sound, drawing on detailed case study analyses of Hollywood cinema, art cinema, animated cartoons, and avant-garde film and video.

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The Music and Sound of Experimental Film

This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives.

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Visual Music Masters: Abstract Explorations of Past and Present Artists

What links exist between sounds and abstract images? What were the first audiovisual instruments? What was the influence of music on Kandinsky’s work? What are the most relevant audiovisual installations? What are the relationships between VJs and live cinema? And, what is synesthesia?

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The Adiovisual Breakthrough

Visual music, expanded cinema, live cinema, VJing, live audiovisual performance—these are concepts enough to create some confusion in the wide realm of today’s artistic audiovisual production. While each of these concepts is widely propagated and suggestive of its own line of history and shared practices, they are not as yet sufficiently defined for theoretical debate and clear practical use.

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Rumour and Radiation: Sound in Video Art

 

This is a book about video art, and about sound art.
 
The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form.
 
Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.

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Sounding the Gallery: Video and the Rise of Art-Music

Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes

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Soundings: A Contemporary Score

Soundings: A Contemporary Score investigates the ways in which some of the most innovative contemporary artists are working with sound today. These artists approach sound from a variety of disciplines--visual arts, architecture, performance, computer programming and music--yet they share an interest in working with, rather than against or independent of, a given situation or environment.

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Les cloches d'Atlantis. Musique électroacoustique et cinéma, archéologie et histoire d'un art sonore

Ce livre est une histoire de la création sonore au XXe siècle et des ses auteurs, précurseurs d'’une pensée sonore révolutionnaire et fondateurs d’une nouvelle manière d' ’« organiser » et de composer les sons. Cette étude permet de reconsidérer un pan tout entier de la création sonore dans les grands genres cinématographiques, (fiction, animation, documentaire, expérimental) ; de la période qui précède l'’avènement du cinéma sonore, en 1926, en passant par la naissance du design sonore, le service de la recherche de l'’ORTF et le cinéma d’'auteur à la fin du XXe siècle. Le propos de l’'ouvrage est illustré par un grand nombre d'’images.

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FRENCH TOUCH - GRAPHISME VIDÉO ELECTRO

En 1994, Eric Morand, fondateur, avec le DJ Laurent Garnier, du label de musique techno, F Communications, déclare : « We give a french touch to house music ». Ce terme « French Touch » qualifie un mouvement de musique électronique français représenté par des groupes comme Air, Daft Punk, Cassius...

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Remix Theory: The Aesthetics of Sampling

Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary Remix culture.

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Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia

Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the world's first electronic instrument, the Theremin; and others whose dreams for electronic sound were cut short by Stalin's regime.

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