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These forms and practices continuously cross-pollinate and produce an ever-changing array of technologies and techniques for audiences and users, which the series aims to represent and foster.
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Today’s sound designers might work in flm and video, installation and performance, auditory displays and interface design, electroacoustic composition and software applications, and beyond. Sound Design The Sound Design series takes a comprehensive and multidisciplinary view of the feld of sound design across linear, interactive and embedded media and design contexts. He is Senior Lecturer in Sound Design and Music Technology at the University of Greenwich, programme leader of Sound Design BA, director of the Loudspeaker Orchestra Concert Series and convenor of the annual SOUND/IMAGE conference.
Andrew Knight-Hill is a composer specialising in studio composed works, both soundbased electroacoustic and audiovisual. This book is ideal for artists, composers and researchers investigating theoretical positions and compositional practices which bring together sound and image. The ideas and approaches explored within this book will fnd application in a wide range of contexts across the whole scope of audiovisuality, from visual music and experimental flm, to narrative flm and documentary, to live performance, sound design and into sonic art and electroacoustic music. The volume’s interdisciplinary perspective contributes to the rich and evolving dialogue surrounding the audiovisual, demonstrating the value and signifcance of practiceinformed theory, and theory derived from practice. Contributions draw upon established discourses in electroacoustic music, media art history, flm studies, critical theory and dance framing and critiquing these arguments within the context of diverse audiovisual practices. Sound and Image: Aesthetics and Practices brings together international artist scholars to explore diverse sound and image practices, applying critical perspectives to interrogate and evaluate both the aesthetics and practices that underpin the audiovisual.
The ideas and approaches explored within this book will find application in a wide range of contexts across the whole scope of audiovisuality, from visual music and experimental film, to narrative film and documentary, to live performance, sound design and into sonic art and electroacoustic music. The volume’s interdisciplinary perspective contributes to the rich and evolving dialogue surrounding the audiovisual, demonstrating the value and significance of practice-informed theory, and theory derived from practice.
Sound and Image: Aesthetics and Practices brings together international artist scholars to explore diverse sound and image practices, applying critical perspectives to interrogate and evaluate both the aesthetics and practices that underpin the audiovisual.Ĭontributions draw upon established discourses in electroacoustic music, media art history, film studies, critical theory and dance framing and critiquing these arguments within the context of diverse audiovisual practices.
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