Acousmatic Foley: Staging sound-fiction

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61384984%3A51310%2F16%3AN0000103" target="_blank" >RIV/61384984:51310/16:N0000103 - isvavai.cz</a>

Výsledek na webu

<a href="https://www.cambridge.org/core/journals/organised-sound/article/acousmatic-foley-staging-soundfiction/8BCD41F1F26E96C9BC8B12722EF2478B" target="_blank" >https://www.cambridge.org/core/journals/organised-sound/article/acousmatic-foley-staging-soundfiction/8BCD41F1F26E96C9BC8B12722EF2478B</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1017/S1355771816000212" target="_blank" >10.1017/S1355771816000212</a>

Jazyk výsledku

angličtina

Název v původním jazyce

Acousmatic Foley: Staging sound-fiction

Popis výsledku v původním jazyce

This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms. The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory advocates loudspeakers as the mediators of the experience and the stage as part of the audience’s assembly. This translates into a practice of staging sound fiction, which focuses on formulating a conjecture based on formal and factual structures, allowing for a direct relationship between the listener and the listening, between the sounds and their fictional location.

Název v anglickém jazyce

Acousmatic Foley: Staging sound-fiction

Popis výsledku anglicky

This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms. The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory advocates loudspeakers as the mediators of the experience and the stage as part of the audience’s assembly. This translates into a practice of staging sound fiction, which focuses on formulating a conjecture based on formal and factual structures, allowing for a direct relationship between the listener and the listening, between the sounds and their fictional location.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60500 - Other Humanities and the Arts

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2016

Kód důvěrnosti údajů

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

Název periodika

Organised Sound

ISSN

1355-7718

e-ISSN

1469-8153

Svazek periodika

21

Číslo periodika v rámci svazku

3

Stát vydavatele periodika

GB - Spojené království Velké Británie a Severního Irska

Počet stran výsledku

7

Strana od-do

242-248

Kód UT WoS článku

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EID výsledku v databázi Scopus

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