Sounds in translation intersections of music, technology and by Chan A., Noble A. (eds.)
By Chan A., Noble A. (eds.)
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Extra info for Sounds in translation intersections of music, technology and society
Example text
Mitchell to signify the fusion of image and text—music takes on the semantic meanings generated by that imagetext. At the same time, musical meaning exceeds the referentiality of the imagetext. In mixed media, Kramer (2002:153) suggests, meaning ‘runs on a loop’. The music seems to emit a meaning that ‘it actually returns, and what it returns, it enriches and transforms’ (Kramer 2002). For Kramer: From the standpoint of the imagetext, music has greater communicative immediacy, though less communicative power.
Here non-linearity seems to be identified with increased intensity. Massumi (2002:26) suggests that ‘intensity would seem to be associated with nonlinear processes: it creates resonation and feedback that momentarily suspend the linear progress of the narrative present from past to future’. In addition, the multimedia version of the piece detaches emotions and perceptions from a sustained monolithic point of view, creating affects and percepts. This happens because the multimedia piece breaks down—much further than the print version—the sense of specific states of affect and perception rooted in particular subjects, though the process is already beginning in the print version.
Synaesthesia is central to multimedia practice, but in ‘soundAFFECTs’ it also takes the form of what we have conceptualised as ‘algorithmic synaesthesia’ (Dean et al. 2006). In algorithmic synaesthesia, image and sound share, at least partly, the same data and algorithmic processes. In ‘soundAFFECTs’, for example, many of the sonic effects are ‘translations’ of the movements of the text as image, and in the web version of the piece it is noticeable that the greatest density of sound is where there is most movement in the image.