‘Tones from Out of Nowhere’ and Other Non-sensedness
Re-membering the Synthetic Sound Films of Oskar Fischinger and Làszló Moholy-Nagy
Bibliographic Data
| ID | 21787393 |
|---|---|
| Authors | Kelly FW Egan (Trent University, corresponding author) |
| Year | 2020 |
| Volume | 15 |
| Issue | 2 |
| Pages | 160-178 |
| Publication date | 2020-07-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Animation (JOURNAL) |
| Journal identifiers | ISSN: 1746-8477 • E-ISSN: 1746-8485 |
| Publisher | SAGE Publications (PUBLISHER • US) |
| DOI | 10.1177/1746847720938230 |
| OpenAlex | W3047386762 |
| Language | EN |
| Citations received | 1 |
| References cited | 4 |
Synthetic sound film, a genre in which sound is directly animated onto the soundtrack of a filmstrip, is an avant-garde practice which remains seldom theorized and too often neglected. Expanding on Thomas Y Levin’s canonical work on the genre, ‘“Tones from out of Nowhere”: Rudolph Pfenninger and the archaeology of synthetic sound’ (2003), this article argues that there is a fundamental divide amongst the artistic approaches to synthetic sound film between filmmakers seeking to create specific aural objects through a new form of visual representation, and filmmakers focused on the graphic object and its direct translation into a new/unknown form of aural representation. Concentrating on the latter group which begins with Oskar Fischinger and Làszló Moholy-Nagy, through a materialist framework, this article shows how their produced sounds re-member the objects from which they emerge and, as such, are bound to a material encounter defined by this sensorial return to objectness
Acoustics · Aesthetics · Art · Art history · Epistemology · Linguistics · Literature · Materialism · oskar · Visual arts · Artistic and Creative Research · History · Philosophy · Visual Culture and Art Theory
| Citations per year | 0.2 |
|---|---|
| Citation span | 2021 - 2021 (1) |
| Highly cited | No |