The Sounding Visual Blog is an art blog concerned with contemporary and past works of art that consist of a co-relationship between art with music or music with art. The blog gathers resources, inspiration, news about performance works, theatre works, cinematic works and audio visual works that belong to this theme of art and music and which is also current for a particular moment in time.
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Links and Resources - September 2013
September 2013 has been a very busy month from personal to PhD work and more! Moving house and a protracted close of sale. An amazing MOCAP workshop in Helsinki, Finland and a paper presentation in Tampere, Finland. The 3rd DAH Institute in Derry, or should I say stroke city as locals there sometimes call Derry. A poetry book launch and reading by Catherine Culleni in the Trinity Long Room Hub, a screening programme of Synthesis 2 by Fractal music at the IFI, a one day visualisation workshop with Sarah Kenderdine in the Trinity Long Room Hub, negotitations re a lecture on the work of the CVM to be held in the ATRL, back teaching on MMT. A book to review by Nuno Correla (really looking forward to that). Birthdays and meet ups.. and lots of not returned emails, which I must do in October..it has been intense.
In the middle of this, a kind of disinterested browsing of resources and sites I have come across and so to try to capture some of these browsing links so I can come back to them when I am less busy (but will I?) I am throwing them into this post to demarc my discovery of them.
Gathering together examples referenced in Noël Burch's Theory of Film Practice, chapter 1
The most profound aspect of this chapter for me is near the end when Burch urges for filmmakers to:
"develop new "open" forms that will have more in common with the formal strategies of post-Debussyian music than with those of the pre-Joycean novel."
Burch discusses the potential for a third meaning (beyond shooting script and technical plan ) for découpage
" no longer referring to a process taking place before filming or to a particular technical operation but, rather, to the underlying structure of the finished film. Formally, a film consists of a succession of fragments excerpted from a spatial and temporal continuum.Découpage in its third French meaning refers to what results when the spatial fragments, or, more accurately, the succession of spatial fragments excerpted in the shooting process, converge with the temporal fragments whose duration may be roughly de…
FUTURISM - MOVEMENT AND SENSATION
by Maura McDonnell
Futurism praised and glorified the energy, speed and danger of machines in art. The futurists had disgust for and rebelled against the 'relics of the past' (interestingly these relics in museums were ok for the old, the disabled and prisoners - people with no future?). The new beauty was not the old art of the past, such as the sculptor piece 'Victory of Samothrace', but the beauty of speed.
How was something so ephemeral and invisible to the eye as speed to be rendered in painting?
Something invisible but felt?
In the two painting manifestos and in particular the Technical Manifesto of Futurist Painting, added to the futurist list of statements is the celebration of science - 'victorious science'. Science could reveal what was hidden in nature and to our vision, x-rays had penetrated the 'opacity' and materiality of the body. Chronophotography and the time-lapse photography of Eadweard Muybridge …
(at around 67 minutes the fight and knife scene)
The film is famous for its extensive use of off-screen space. Burch discusses the particular scene.
"Because during a fight scene that soon became famous, Emil Jannings and his rival roll on the ground, leaving the screen momentarily empty. A hand with a knife in it then enters the frame from below and immediately plunges out of frame again to deliver the fatal blow. Jannings then rises up and into frame all by himself . . . and several generations of film historians applauded this "magnificent understateme…