Foley gesture: Towards a theory of acousmatic foley

Result code in IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51310%2F23%3AN0000197" target="_blank" >RIV/61384984:51310/23:N0000197 - isvavai.cz</a>

Result on the web

<a href="https://ojs.newsound.org.rs/index.php/NS/article/view/140" target="_blank" >https://ojs.newsound.org.rs/index.php/NS/article/view/140</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.5937/10.5937/newso23061060P" target="_blank" >10.5937/10.5937/newso23061060P</a>

Result language

angličtina

Original language name

Foley gesture: Towards a theory of acousmatic foley

Original language description

The research project “Acousmatic Foley” addresses common traits between foley art and Concrete Music, based on the idea that the foley artist is an acousmatic listener and, in turn, that acousmatic listening is a form of fiction. In this line, the study argues that both fields have similar treatment of the “sonorous object”. For this purpose, the research builds on two lines of thought: the “son-en-scène” and the “mise-en-son”. Firstly, the “son-en-scène” focuses on the sounds of the filmic mise-en-scène (and its sound props), from very early cases to contemporary instances. The focus on these sound-props provides a perspective of sound for film that emphasizes its role as a tool of fiction and, thus, foley as the craft that leads to that experience. Secondly, “mise-en-son” sheds light on the making of the sound itself by exploring the concept of musical gesture. Either in contexts in which the musical gesture is visible (as with instruments), more cryptic (as with electronic devices), or completely delegated (as in acousmatic music), gesture can be seen a form of agency. Given that foley consists of maneuvering a sound-prop, gesture is as central to foley as it is to musical practices. This paper focus on the idea that gesture carries the same conception as the “sonorous object”, that of an “intentional unit”. In line with this, and in particular when of acousmatic nature, the research argues that the sonorous object is analogous to the sound-prop. In the end, these two lines of thought (son-en-scènce and mise-en-son) bridge the poietic and esthetic, as in Nattiez’s semiotic distinction, towards an experience of “acousmatic foley”.

Czech name

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Czech description

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Type

J_ost - Miscellaneous article in a specialist periodical

CEP classification

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OECD FORD branch

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Project

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Continuities

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Publication year

2023

Confidentiality

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Name of the periodical

New Sound - International Journal of Music

ISSN

0354-818X

e-ISSN

1821-3782

Volume of the periodical

61

Issue of the periodical within the volume

1

Country of publishing house

RS - THE REPUBLIC OF SERBIA

Number of pages

24

Pages from-to

60-83

UT code for WoS article

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EID of the result in the Scopus database

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