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1
Roberts, Eugene L. Jr. "Not the Sound, But the Silence." School of Journalism, University of Arizona (Tucson, AZ), 1987. http://hdl.handle.net/10150/583028.
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The John Peter Zenger Award for Freedom of the Press and the People's Right to Know, 1987 / Not the Sound, But the Silence, by Eugene L. Roberts, Jr., The Philadelphia Inquirer / Tucson, Arizona, November 13, 1987
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Melia, Nicholas. "The Work of Silence : Composing without Sound." Thesis, University of East Anglia, 2006. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521027.
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Eley, Craig. "Making silence audible: sound, nature, technology, 1890-1970." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/6568.
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This dissertation examines the commercially released nature records that were produced by naturalists, scientists, recording engineers, teachers, musicians, and hobbyists from the 1890s through the 1970s. Though some of the general concepts about natural sound have remained remarkably consistent over time, their specific definitions and implementations are marked by moments of contestation and change. Early recorded natural sound practices were often both musical and narrative, relying on human intermediaries to set the scene and explain the sounds. Later developments in microphones and recorders allowed humans greater access to natural sounds, but they also increased the levels of detachment between those sounds and their sources, resulting in nature sounds being understood, measured, and visualized in abstract and mathematical ways. Concurrent with these technological developments was a cultural shift away from nature sounds as a way to understand large-scale environmental and scientific issues, shared experiences, and actual physical spaces, toward the use of nature sounds to facilitate a personal and psychological relationship with a generalized idea of "the natural world." These issues were not simply the province of a small group of specialists, or mere background noise to larger cultural issues. Debates about natural sounds were often debates about "nature" itself, touching on fundamental questions of race, class, gender, science, technology, and environmental politics in American culture.
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Khodier, Nesma Magdy VCUQ. "The Future of Arabic Music: No sound without silence." VCU Scholars Compass, 2016. http://scholarscompass.vcu.edu/etd/4170.
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For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation.
This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms.
The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration.
The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.
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Muniz, Alexa S. "Our Sound Our Silence: Self Care in Student of Color Activism." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/783.
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Our Sound Our Silence is a performative documentary about student of color activists at Scripps College. This video project attempts to highlight the fatigue, emotional, mental, and physical exhaustion these students experience from having to work within the institution to advocate for their survival. This video project also attempts to speak to the importance of self-care for students of color and especially for those involved in activism and organizing on campus. I wanted to use the creation of this video as a means of self-care and process of healing for myself, my collaborators, and my community.
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Gillette, Amy Elizabeth. "Depicting the Sound of Silence: Angel-Musicians in Trecento Sacred Art." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397051.
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Art History<br>Ph.D.<br>The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of “concelebration,” the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blended and clashed. Because the medieval Church evolved images and rituals based on the notion that angelic ministry was exemplary for human practice, I have organized my chapters around four key precepts of angelology: the angels’ liminality, operations in the aesthetic realm, ideal enactment of the liturgy, and multiplicity. Considered in these terms, images of angel-musicians effected the presence of actual angels in order to entice human viewers into joining their liturgy mystically, an act of profound spiritual benefit. This contention is predicated on the beliefs that although angels were technically ineffable, they were also able to traverse the divide between heaven and earth. By mediating the sensible and suprasensible, the images achieved their goal by facilitating individual acts of contemplation; by aestheticizing the spiritual sweetness of angels’ song; by modeling the angels’ roles as co-worshippers, ministers, and celestial assistants; and by proliferating in all types of sacred art, in which they were forces of active engagement that helped to “angelize” people’s mental worlds and ritual behaviors.<br>Temple University--Theses
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Hartwand, D. "Early Christianity and military service : A reinterpretation of the sound of silence." Thesis, Queen's University Belfast, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.517378.
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Lewin, William. "The Sound Of Silence : Applying Disruptive Innovation in the Electric Motorcycle Industry." Thesis, Uppsala universitet, Industriell teknik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445540.
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The motorcycle industry is experiencing a paradigm shift. Alternatives to fossil fuels and changing customer preferences have slowly begun phasing out parts of the traditional motorcycle market. As a result of this, electric motorcycles are growing in popularity. A theory which discusses and theorizes regarding these types of industrial paradigm shifts is the theory of disruptive innovation. Disruptive innovation was introduced by scholar Clayton Christensen and has received a lot of attention since. The aim with this degree project was to contribute to our collective understanding of the innovation process by examining the electric motorcycle industry from the perspective of disruptive innovation. This was accomplished by compiling an industrial history of electric motorcycles which was analyzed using the concepts introduced by Christensen and further developed by his critics. This study used secondary information compiled in an industrial history using the narrative approach to historical analysis. The results showed that Christensen’s version of disruption was the most suited to explain the early attempts at electric motorcycles. The versions of disruption proposed by Christensen’s critics provided insight into how customer needs and the motorcycle market developed disruptive susceptibility over the years. The results of the study suggest that producers of electric motorcycles are adapting their products to the mainstream market instead of considering low-end markets with disruptive potential, which indicates that the actors are not expecting disruption as Christensen describes it.
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Jansson, Robin. "Silence in Adventure Games and Space." Thesis, Blekinge Tekniska Högskola, Sektionen för planering och mediedesign, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-5033.
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As video games have evolved, the focus on impressive graphics and surround-sound has become increasingly prominent. Stepping away from their roots, video games have toned down the interaction and put the cinematic parts of the experience on the forefront. However, some games stand outside the norm, taking down the sound-level to a minimum, even going as far as removing text entirely. In my essay, I explore the functions of silence, specifically in two works: the computer game Machinarium, and 2001: A Space Odyssey, the film, along with the novel. By analyzing these works, I highlight how silence can have widely different effects on how the users experience the work. Employing different techniques, the authors manipulate the experience, using visuals as well as audio to increase the sense of immersion and connectedness to the characters on screen. In my essay, the close ties between video games and film is central, and it discusses how the former has been influenced by the latter. Comparing the use of silence to techniques found in literature, I discover surprisingly many similarities to the narrative techniques used there. My research shows that video games employing silence can, even while being influenced by more cinematic media, still retain its core essentials and provide an experience that encourages exploration and imagination of the individual user.
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Gavanas, Elin, and Paula Larsson. "“The sound of silence” : Intensivvårdsjuksköterskors erfarenheter och tillämpning av strukturerade vilostunder på en intensivvårdsavdelning." Thesis, Högskolan i Borås, Institutionen för Vårdvetenskap, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17956.
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Akut sjukdom innebär ofta ett hot mot tillvaron. Utöver det rent fysiska utgör störd dygnsrytm stora problem för intensivvårdspatienter. De vårdas i en högteknologisk miljö som stör sömn och vila. Detta har sammantaget negativ inverkan på både den mentala och fysiska återhämtningen. För att kompensera störd nattsömn har många intensivvårdsavdelningar infört strukturerade vilostunder under vilka patienterna inte ska få störas. Tidigare forskning har visat att patienterna ändå blir störda under denna viloperiod. Syftet med studien var att beskriva intensivvårdssjuksköterskors erfarenheter och tillämpning av strukturerade vilostunder på en intensivvårdsavdelning. Datainsamlingen skedde genom intervjuer med nio intensivvårdssjuksköterskor från två olika intensivvårdsavdelningar. Studien har genomförts i form av en kvalitativ intervjustudie där data har analyserats med kvalitativ innehållsanalys efter Granskär och Höglund-Nielsens modell. Studien visar att intensivvårdssjuksköterskorna hade erfarenhet av rutinmässigt strukturerade vilostunder. De upplevde emellertid att deras genomförande av vilostunder prioriterades olika, speciellt i perioder med hög arbetsbelastning. De ansåg att genomförandet var ett sjuksköterskeansvar men att så många saker kunde inträffa som de inte kunde påverka. Framför allt gällde det den fysiska miljön. Författarna anser att kontinuerlig gemensam utbildning om effekter av vila, sömn och sömnbrist är ett sätt att öka prioriteringen av rutinmässigt strukturerade vilostunder. De bör planeras dagligen under ronder. Studien visar att genomförandet av vilostunder försvåras av den fysiska miljön då de flesta patienter vårdas i flerbäddsalar.<br>Program: Specialistsjuksköterskeutbildning med inriktning mot intensivvård
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Roosa, Jacob Bradley. "Sound and Silence in the Forge: Work, Space, and Communication in Early Cistercian Monasticism." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495920988480644.
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Roe, Angela E. "The Sound of Silence: Ideology of National Identity and Racial Inequality in Contemporary Curaçao." FIU Digital Commons, 2016. http://digitalcommons.fiu.edu/etd/2590.
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This dissertation addresses racism in contemporary Curaçao—a former Dutch colony in the Caribbean that remains a component of the Kingdom of The Netherlands. The dissertation theorizes racism as a partially hidden constituent of the island’s ideology of national identity, which throughout its history has emulated hybridity before being influenced, more recently, by multiculturalism. The research’s main objective is to uncover the ways race and racism have been entangled with Curaçao’s hegemonic ideology of national identity, a reality too often omitted and always under-theorized in Dutch and Dutch Caribbean scholarship.
Using historical, ethnographic, statistic, and discourse analysis data, the dissertation reveals how profound the operations of race have been on Curaçaoan society, and on all Curaçaoans on the island and in the diaspora. It discusses the historical formation of ideologies of race and national identity in Curaçao, to contribute to the explanation of the current state of race relations on the island. It exposes the silencing impacts that the hegemonic ideology of national identity has had on individual Curaçaoans’ understanding of self through the reflexive presentation of an intergenerational family history. The dissertation ends with ethnographic analytic descriptions of five neighborhoods differently located in Curaçao’s racial/spatial order, which reveal the mechanizations of multiculturalism and the prevalence of racism.
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Muth, Kristoffer, and Sofie Svanberg. "The sound of silence : En kvalitativ studie om framställningen av misstänkta med utländsk bakgrund i frivårdens personutredningar." Thesis, Linnéuniversitetet, Institutionen för socialt arbete (SA), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-65135.
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Our aim in this essay was to find if suspects of foreign and Swedish background were presented differently in personal case studies made by the probation authority. We have conducted a content analysis of the personal case studies with male assault offenders in the range of 18-23 years old. The study showed that the suspects of foreign background were presented differently in comparison to the suspects of Swedish background. The differences were noticeable foremost in the description of the suspects relationship to family and friends, but also in the description of the suspects possible criminal values. The personal case studies differed in the way that the suspects of Swedish background had more of a detailed description of relationships to family and friends, but they were also given the opportunity to value their own experience of their relationships. While the description of relationships to the suspects of foreign background consisted more of a mapping of family members and friends with no description of how the suspect experienced the relationships. The presentation of the suspects possible criminal values differed in the way that in the personal case studies of the suspects of Swedish background included a professional statement about their non-criminal values, but the suspects of foreign background had no such statement nor that they had criminal values. Although this haven´t affected the final statement that the probation officer has done. We have argued that the lack of relationship description and statement of criminal values had made the presentation of the foreign suspect as someone who could be perceived as an impersonal stranger with unknown criminal values where preconceived ideas can grow and lead to stigmatizing processes.
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Yue, Flavia Henlor. "pausa." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-18052012-150011/.
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O trabalho toma como ponto de partida a realização de um conjunto de ações com o nome pausa,. A idéia é pensar a ocupação temporária de espaços, feita pela interação imagem x som. Tem interesse no tipo de ocupação destes espaços, desenvolvendo a noção de vazamento entre um e outro. A eleição destes espaços parte de elementos que oscilam entre dados reconhecíveis e comuns e por isso coletivos , e identificações particulares, num movimento pendular entre ambos.<br>This work takes as its starting point a set of actions named pausa, [pause,]. The idea is to reflect upon the temporary occupation of spaces, carried out by means of the interaction between images and sound. It has an interest in the type of occupation of these spaces, developing the notion of leakage between one and another. The choice of these spaces is grounded in elements that oscillate between recognizable, common and hence, collective data, and private identifications, in a pendular movement between the two.
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Hattnher, Thiago Dall\'Aglio. "Pintura, silêncio e outros ruídos." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27159/tde-13032019-103231/.
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A dissertação Pintura, silêncio e outros ruídos tem como principal mirada reflexiva a produção de dois artistas norte-americanos: John Cage e Cy Twombly. Partindo das proposições de entendimento do conceito de silêncio feitas por John Cage, Pintura, silêncio e outros Ruídos tensiona algumas aproximações entre determinados trabalhos de Cage - produzidos a partir de 4\'33, 1952 - e da produção em pintura e desenho de Twombly, sugerindo algumas relações entre som, desenho, pintura e ruído. As reflexões geradas a partir da aproximação entre os dois artistas são levadas, em seguida, à minha própria produção em pintura, observando a maneira como incidem em minha investigação prática.<br>The dissertation Painting, silence and other noises has as its main focus of reflection the work of two north-american artist: John Cage and Cy Twombly. Following along the understanding propositions of the concept of silence done by John Cage, Painting, silence and other stresses some similarities between some (specific) work done by Cage - fr 4\'33? and beyond - and both pantings and drawings by Twombly, suggesting some relationship between sound, drawing, painting and noise. The reflections generated from the proximity between the two artists are considered, as follows, in my own production of paintings, noting how they influence my own research.
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Paul, Mazerolle Kelly. "The sound of silence : the utilisation of mime in the teaching of English as an additional language, an exploratory study." Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 1998. http://www.uqtr.ca/biblio/notice/resume/03-2190320R.html.
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Mémoire (M.A.) - Université du Québec à Trois-Rivières, 1998.<br>Le résumé et la table des matières sont disponibles en format électronique sur le site Web de la bibliothèque. CaQTU Bibliogr.: p. 122-127.
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Butera, Michael Vincenzo. "Techniques of Listening and Acoustic Orders." Diss., Virginia Tech, 2010. http://hdl.handle.net/10919/29641.
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Contested interactions between social acoustic spaces and the appropriate methods of listening within them are pervasive in everyday life. This dissertation answers two questions within this expanding field of inquiry. How are sounds phenomenologically interpreted into perceptual categories? Why are these private categories reflected in shared acoustic space, configuring the possible conditions for future sounds? For the first, I propose a phenomenology of audition within which sounds are categorized into three modes: affective, symbolic, and excessive. This classification technique enables the perceptive listener to objectify, parse, interpret, and respond to the sounding world. Second, I argue that these categories are projected and reflected in the socio-political concept of â acoustic ordersâ . Organizations of sound in social space emerge from the tensions between interpretive agents and pre-existing acoustic configurations; in return, the habits and techniques of auditors are fundamentally influenced by these acoustic orders. Henri Lefebvre's spatial theory will be utilized to develop this descriptive framework. The reciprocity outlined between listener and context suggests dual theoretical revisions. In the first part, phenomenology is shown to benefit from the inclusion of its socially generated influences. Alternately, I argue that acoustic orders exist in part because of spatial actions intended to resolve excessive perceptions into a unified experience.<br>Ph. D.
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Magalhães, Maria João Martins e. Silva Abranches de. "Projetar o silêncio." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2016. http://hdl.handle.net/10400.5/13495.
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Piccolo, Livia. "No interior da palavra: reflexões sobre voz, som e silêncio a partir da Cia. Club Noir." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/27/27155/tde-28022014-112331/.
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Este trabalho busca construir um pensamento contemporâneo sobre voz a partir da investigação do trabalho do ator com a voz e com a palavra na Cia. Club Noir, companhia teatral fundada em 2006 e com sede na cidade de São Paulo (SP). O texto retoma alguns movimentos e ideias que ao longo do século XX fomentaram uma nova concepção de voz, som e silêncio. A partir das relações entre corpo, voz, leitura textual e emissão no trabalho do ator, constrói um pensamento que dialoga com a música e a poesia experimental. A prática da Cia. Club Noir, focada na exploração da palavra e experimentação da linguagem, constitui um rico material para a construção de um pensamento sobre voz nos processos contemporâneos de criação. Este trabalho compreende palavra como som e sentido simultaneamente e mais do que analisar o trabalho da companhia teatral em questão, pretende levantar novas perspectivas para o entendimento da voz.<br>This paper aims at constructing a contemporary thought on voice, having as its basis the investigation of voice and word use of actors of the Cia. Club Noir, a theater company from São Paulo (SP) founded in 2006. The text looks back at some movements and ideas that have been influential in the creation of new concepts of voice, sound and silence, and, taking into account the relations between body, voice, text reading, and emission, builds up a thought that establishes a dialogue with music and experimental poetry. The praxis of the Cia. Club Noir, which has as its focus on the study of word and language experiments, consists of a rich material for the construction of a thought on the use of voice in the contemporary creation processes. This work considers words to be the combination of sound and sense and intends not only to analyze the work of the theater company, but also to raise new perspectives for the understanding of voice.
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Terezani, João Henrique Tellaroli. "Ouvindo vazios : os silêncios em A erva do rato e Cleópatra de Júlio Bressane." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/7408.
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Previous issue date: 2014-08-29<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>This work aims to discuss the representation of silence in films. Our objects of study
are the films Cleópatra and A erva do rato both by Julio Bressane, since the phenomenon of
silence emerges as a recurring theme in the style of this director. The analyzes found in this work
focus on the discussion of the phenomenon linked to its discursive, and its physical appearance,
and also about its manifestations in artistic fields like music, poetry and cinema. To do so, we had
as main references studies of Paul Théberge, Fernando Morais da Costa, Virginia Flores about
the sound in cinema, John Cage, Susan Sontag, José Miguel and Jorge Antunes Wisnik on the
representativeness of silence for the arts in general.<br>Essa dissertação tem como objetivo discutir a representação do silêncio pelo cinema, tendo como
objeto de estudo os filmes Cleópatra e A erva do rato de Julio Bressane, uma vez que o fenômeno
desponta como um recurso recorrente dentro do estilo deste diretor. As análises encontradas neste
trabalho concentram-se na discussão acerca dos conceitos atrelados ao fenômeno do silêncio
discursivo, físico e de suas manifestações nos campos artísticos como a música, a poesia e o
cinema, sendo este último o ponto nodal de nossa discussão. Para tanto, tivemos como principais
referências os estudos de Paul Thebérge, Fernando Morais da Costa, Virgínia Flores acerca do
som no cinema, John Cage, Susan Sontag, José Miguel Wisnik e Jorge Antunes sobre a
representatividade do silêncio pelas artes em geral.
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Smuts, Lyn. "The visualization of sound : an investigation into the interplay of the senses in artmaking." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.
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Brétéché, Sylvain. "L'incarnation musicale : l'expérience musicale sourde." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3076.
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L’ordinaire musical fait de l’oreille le médium principal de son accomplissement, reléguant au second plan le corps et ses capacités de réception des éléments sonores. Lorsque l’oreille ne peut remplir son rôle, le corps déploie alors ses qualités sensibles. Fondamentalement, la musique s’incorpore et se révèle expérience incarnée. La réalité musicale des sourds exprime ainsi cette dimension profonde du musical qui, par essence, prend le corps pour lieu de concrétisation. Délaissant les qualités aurales de la musique, celles qui s’adressent à l’oreille, pour singulariser plus précisément la corpauralité, le sujet sourd dévoile l’ordinaire musical à lui-même en lui révélant son altérité. Altérité sensorielle, altérité culturelle mais encore altérité esthétique, l’expérience musicale sourde se veut être une figure extra-ordinaire de la musique. Penser l’expérience musicale sourde, c’est en un sens se rapprocher de l’essence même du musical et de son nécessaire accomplissement corporel. Au-delà du paradoxe qu’elle suppose, l’expérience sourde de la musique investit le sens commun pour lui offrir une possibilité de dépasser le cadre qui le conditionne, décadrant l’ordinaire musical de son audiocentrisme pour signifier ce qui, au cœur de l’existence musicale, semble se présenter comme un principe fondamental : l’incarnation<br>The musical ordinary makes the ear the main medium for its fulfillment and relegates the body and its sound perception capacities to a position of second importance. When the ear cannot play its role, the body does deploy its sensible qualities. Essentially, music embodies and reveals itself a personified experience. The musical reality of the Deafs thus expresses this deep dimension of the musical which, in essence, takes the body as a place of realization. In the abandon of the aurals of music, those which address the ear, the deaf experience allows to single out the corpaurality more specifically and as such reveals the alterity of the musical ordinary. Sensory alterity, cultural alterity, but also the aesthetic alterity, the deaf musical experience presents itself as an extra ordinary figure of music.Approaching the deaf musical experience, is in a way getting closer to the essence of the Musical and its necessary corporeal fulfillment. Beyond the paradox it implies, the deaf experience of music invest the common sense to offer a possibility to go beyond the framework that governs it, detaching the musical ordinary from its audiocentrism to mean what, at the centre of the musical existence, seems to present itself as a crucial principle: the embodiement
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Daubresse, Louis. "Esthétique(s) du silence dans le cinéma contemporain : histoire, héritage et discontinuités." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA132.
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Pris dans son acception la plus large, le silence est un concept polysémique et mobile, tendant à la fois vers l'idée de néant, ou, a contrario, de plénitude. Souvent évoqué et débattu, le silence au cinéma semble toucher un point fondamental du langage audiovisuel. S'il peut être incarné de différentes manières à l'écran, il passe avant tout par une diminution (à défaut d'une disparition complète) de la présence de paroles, de musiques et, plus rarement, de bruits. Présent, plus que jamais auparavant, dans un certain cinéma contemporain, le silence y apparaît en des figures variées, selon différents dispositifs (personnages mutiques, lieux désaffectés, rares paroles dépourvues de sens, étirement des temps faibles du récit). Pour étudier ces figures, il faut d'abord s'interroger, en une approche archéologique, sur les origines du silence cinématographique, sur son parcours esthétique dans le cinéma parlant (notamment dans les films de genre ou dans ceux de la modernité) avant d'en dessiner les enjeux poétiques et politiques dans les fictions contemporaines de Sharunas Bartas, de Pedro Costa, de Béla Tarr ou de Tsaï Ming-liang. Une présence invisible à l’intérieur même de ces films peut enfin être vue, écoutée et révélée. Le silence agit directement sur le rythme de ces films, renforçant l’impression de durée et induisant la sensation de dilatation temporelle. De la même façon, il peut participer à une forme de mélancolie ou de vacuité. Nous pourrons enfin nous demander si le silence implique un refus de l'état des choses, s'il revendique une nouvelle relation au monde et s'il invite à nous projeter vers un temps post-catastrophique où la parole n’aurait plus de sens. Y aurait-il ainsi, au travers de sa mise en scène, une dimension anthropologique, critique et historique du silence ?<br>In its broadest sense, silence is a polysemous and fluctuating concept, tending towards the idea of void and, at the same time, of plenitude. The concept of silence in cinema is frequently mentioned if not discussed, and seems to address a fundamental issue of the audiovisual language. It can be incarnated in different ways on screen, but systematically goes along with a reduction (when not a complete loss) of words, music and more rarely noises. More present than ever in some contemporary cinema, silence is represented by different figures, through different means (silent characters, disused places, rare and bland words, tensionless scenes lengthening). To study these figures, we first have to examine - through an archeological approach - the origins of silence in cinema, its aesthetical evolution in talking movies (especially in genre films and modern films). Then, we will be able to discern the poetical and political issues in the contemporary fictions of Sharunas Bartas, Pedro Costa, Béla Tarr or Tsaï Ming-liang. Therefore, the invisible presence in these films would be seen, listened to, then unveiled. Silence directly acts on the rhythm of these films, strengthening the duration feeling and generating the idea of time dilatation. In the same way it can be responsible for the emergence of some melancholia or vacuity. We will finally be able to wonder if silence implies a resistance in regards to the state of things, if it puts forwards a new relationship to the world and if it invites us to look towards a post-catastrophic time where words would be nothing but bland. Could we find out an anthropological, critical and historical dimension of silence through its dramatization ?
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Volny, Sandra. "Survivance des espaces sonores : conscience auditive et pratiques de l'espace du corps-sonar." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H312.
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Dans le chaos de la vie contemporaine, il faut de plus en plus apprendre à écouter ; écouter les gens, la nature, mais aussi les lieux, les espaces, leurs parois. Les murs n’ont pas que des oreilles : ils parlent. Ils parlent d’un récit in-ouïe de l’humanité, d’espaces vibrants et chuchotant. Dans le fracas de nos souvenances, il faut tendre l’oreille pour prendre conscience de notre univers, de nos espaces sonores. Ma pratique artistique a pour centre d’intérêt le son et la perception de l’espace sonore. Je crée des parcours, des méditations, des situations, des enregistrements de terrain, des témoignages et des récits qui sondent la ténuité du silence et la résonance des zones d’écoute. A l’écoute du bruit de fond et de l’écho qui remplissent les lieux, je me déplace pour tenter d’exposer la survivance des espaces sonores. Au cœur d’un monde sonore, plusieurs artistes contemporains engagent des dynamiques de renvoi de l’écoute et du corps. La survivance prend forme dans des traces, des résidus et des fossiles sonores, qui sont autant de témoignages de nos traversées que de paysages résistant a leur propre disparition. Pour entendre ces résidus sonores, pour voir la survivance des espaces sonores, je fais appel à des participants qui découvrent leur conscience auditive et performent le mouvement d’un corps-sonar, un mouvement en résonance entre le corps, l’espace et la collecte d’informations provenant du passé. Le corps‐sonar, qui entre en contact avec l’invisible, touche l’écho des espaces, révélant par le fait même notre imaginaire touché. Cette thèse raconte mon parcours dans l’univers du son, la traversée de ma pratique personnelle, de mes œuvres comme de mes récits. Elle donne également le rôle principal aux œuvres décrites et étudiées sous l’angle de la conscience auditive et de la survivance des espaces sonores. Elle traverse les créations de plusieurs artistes, de John Cage à Brandon Labelle, en passant par Pauline Oliveros et Alvin Lucier. Elle parcourt aussi la pensée de nombre de théoriciens, dont Didier Anzieu, Raymond Murray Schafer, Georges Didi-Huberman et Michel Serres. Écoutons-les, pour voir<br>In the chaos of contemporary life, it is more and more necessary to learn how to listen: listening to people, to nature, but also to places, to spaces, to their walls (parois). Walls do not only have ears; they speak. They speak of an unheard (in-ouïe) about humanity, about vibrating and whispering spaces. In the clash of our remembering, it is necessary to stretch the ear in order to become conscious of our universe, or our aural spaces. My art practice focuses on sound and aural spatial awareness. I create sound journeys, meditations, situations, field recordings, testimonies and stories that explore the silence’s tenuousness and the resonance of listening areas. While listening to the background noise and the echo that fill in the places, I am moving in an attempt to expose the Surviving Aural Spaces. At the heart of a sonic world, various contemporary artists are engaged in dynamics of referencing (renvoi) to the listening and to the body. The surviving takes form in sound traces, sound residues and sound fossils, that all witness our journeys as well as landscapes resisting to their own disappearance. In order to hearing those sound residues, to seeing the surviving of aural spaces, I am making use of participants whom discover their auditory awareness and perform a sonar-body movement, a movement that resonates between the body, the space and the information collected from the past. The sonar-body contacts the invisible, touches the echo of spaces, thus revealing our touched imaginary. The present thesis relates my journey in the universe of sound, the crossing of my personal practice, of my works as well as my narratives. It also gives the leading role to the works, described and studied from the angle of auditory awareness and the surviving of aural spaces. It goes through the creation of various artists, from John Cage to Brandon Labelle, via Pauline Oliveros and Alvin Lucier. It also browses the thinking of many theorists, including Didier Anzieu, Raymond Murray Schafer, Georges Didi-Huberman and Michel Serres. Let’s listen to them, to see
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Walraven, Maarten. "The noisy city : people, streets and work in Germany and Britain, c. 1870-1910." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-noisy-city-people-streets-and-work-in-germany-and-britain-c-18701910(a0aad557-c4a6-4c85-9719-337dd1ace035).html.
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This thesis surveys the sounds of everyday street and work life to argue for a reassessment of the way historians have understood community, space, materiality and identity in late-nineteenth and early-twentieth-century Germany and Britain. It will demonstrate that sound played an important role in the organisation of urban space and social order. Furthermore it will show how the historical subject as listener emphasises the volatility of identity, place-making and community. Sounds either defined a community through positive responses or created conflict where one group heard the sounds of another group as noise. Sound helps to define the social groups that this thesis focuses on, such as experts, intellectuals, local administrators, immigrants or factory labourers. The ephemeral nature of sound and the subjectivity of listening, however, also pull apart such neat definitions and reveal the fractures within each of these social groups. Throughout this thesis, differing reactions to everyday sounds in the conurbations of Manchester and Düsseldorf will demonstrate how communities sought to define themselves and their environments through the production and reception of sound. What emerges is a re-composition of everyday life in the late-nineteenth and early twentieth century that challenges examinations of it based on images of class, sociability and culture. Düsseldorf and Manchester were substantial cities that grew during the period studied here and underwent similar processes of technological change that affected both the social order and the physical environment. This thesis demonstrates that the audibility of specific technologies, buildings and machines physically affected listeners, and that working classes, middle-class professionals and local administrators all created regimes of noise intent on controlling behaviour in streets and workplaces. One of the key tropes within studies of sound is that listening places the historical subject at the centre of their environment while seeing places them outside of it. Using this idea, this thesis will make an original contribution to a number of debates. First of all, sounds broke down visual boundaries between street and workplace and this dissertation examines how that changes historical notions of place and space. Secondly, this thesis establishes how sound exposes the lines of fracture and cohesion within and between social groups that historians of popular street culture have tried to emphasise through class relations. Thirdly, sound allows for a re-examination of the power structures in which factory labourers and immigrants worked and lived as it presents practices of listening and sound production that breathe new life into ‘histories from below’ and challenge the top-down approaches associated with governmentality. Finally, this thesis will challenge the notion of noise as unwanted sound, prevalent in the growing number of histories on urban noise by demonstrating the diversity of everyday and medical reactions to ‘noise’ and exploring the problem of ‘silence’ in negotiations of migrant and worker identity and the development of road technologies. Overall, this thesis will determine that the role of sound in the late-nineteenth and early twentieth-century complicates historical debates on the physical and social organisation of urban space. Different communities transformed their identities around shared listening practices and adapted their rhythms of everyday life to sounds that resonated between street and home, work and leisure.
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Ehnert, Heinrich. "Stilles Design : A pursuit for creating conditions for openness." Thesis, Konstfack, Industridesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6291.
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The present work represents both: a design proposal and a proposal for design.Today we are exposed to more and louder noise than ever before in all areas of human life, which alters the environment, our health and the quality of social interaction to the worse. Therefore, this project takes its departure point in the concept of Stille (German for stillness and silence) in order to oppose this culture of noise. Our surroundings influence our actions and vice versa we alter these surroundings with our actions. However, since constructed within every detail, they do not allow a transient feedback to take place naturally. A possible otherness is hardly attainable in an overly planned reality.This thesis seeks to transcend the boundaries where descriptive language ceases to function and introduces materiality and interactive devices to evoke other avenues of reflection where the boundaries of actor, context and artefact converge. The proposal at hand embodies the fundamental principles of Stille in order to exploit aspects of parametric design and contingency. It imagines and materialises alternative ways of a potentially open process in which our physical environment could continuously constitute itself. Both hidden and apparent aspects of reality are unraveled and transformed into artifacts. The work depicts the transient complexity of reality and the contingent influence of everyone on our surroundings. How is our behaviour altered by the materialisation of ideas? How receptive is the current design practice to a constantly changing reality?
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Thiltges, Sebastian. "Paysages silencieux dans le roman réaliste (1850-1900)." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC028.
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A la recherche du paysage silencieux ou du silence du paysage, cette thèse explore un large corpus ouvert de romans réalistes publiés en France, en Angleterre et dans les pays germanophones durant les années 1850-1900. Le parcours de lecture comparatiste représente un voyage littéraire en quête d'un type de paysage particulier, non pas paysage à connotation géographique, mais paysage perçu comme un espace imaginaire et sensible. Face au topos romantique que constitue le paysage silencieux, le silence «réaliste» apparait souvent comme une tentative de musellement des voix romantiques tout en démontrant que le réalisme réinvente les rapports entre l'être humain et le monde naturel, entre le sujet et l'objet de la perception. Contrecarrant l'hégémonie du visuel et du verbal, unissant des données objectives et humanistes, instaurant une relation entre le paysage et le lecteur, le silence dans le roman permet de découvrir des espaces inexplorés et garantit l'expérience d'une lecture nouvelle, à l'écoute des mondes naturel et textuel<br>In search of silent landscapes or of the silence of the landscape, this thesis explores a wide open corpus of realistic novels published in France, in England and in the German-speaking countries between 1850-1900. This comparative reading represents a literary journey looking for a particular type of landscape, not with geographical connotation, but perceived as an imaginary and sensitive space. Against the romantic commonplace of silent landscape, "realistic" silence often appears as an attempt Io muzzle the romantic voices, while demonstrating that realism reinvents the relationship between the human being and the natural world, between the subject and the object of perception. Abrogating the hegemony of the visual and the verbal, uniting objective and humanist observation, establishing a relation between the landscape and the reader, silence allows Io discover unexplored spaces and guarantees the experience of a new reading, as the attempt to listen to the natural and textual worlds
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Viñas, Alcoz Albert. "Celuloide inaudito: prácticas sonoras en el cine estructural (1960-1981)." Doctoral thesis, Universitat Pompeu Fabra, 2016. http://hdl.handle.net/10803/352713.
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Esta tesis estudia el sonido del cine estructural analizando sus fundamentaciones teóricas, sus tratamientos prácticos y sus apreciaciones estéticas. Se parte de una serie de películas estructurales internacionales englobadas bajo cuatro conceptos acústicos para discutir las dinámicas de sus sonidos. La investigación se centra en la noción de ruido, la utilización de la voz, las técnicas de repetición y el concepto de paisaje sonoro, para examinar doce filmes que desnaturalizan el sonido enfatizando su materialidad. El estudio confirma la experimentación acústica del cine estructural como uno de los recursos esenciales para interrogar las limitaciones tecnológicas del medio.<br>This thesis studies the structural film sound analyzing their theoretical foundations, its practical treatments and aesthetic appreciation. A series of international structural films included under four acoustic concepts are located in order to discuss the dynamics of their sounds. The research focuses on the notion of noise, the use of the voice, the techniques of repetition and the concept of soundscape, to examine twelve films which distort the sound emphasizing its materiality. The study confirms the acoustic experiments os structural film as an essential resource to question the technological limitations of the medium.
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Tawaifi, Anjel. "Ljud som konstnärlig metod : En analys av sonisk estetik och politik i Lawrence Abu Hamdans ljudverk Saydnaya (the missing 19db)." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445288.
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The aim of this essay is to study the political and aesthetical qualities in Lawrence Abu Hamdans sound piece. In Saydnaya (the missing 19db) former detainees from the infamous Syrian prison Saydnaya are interviewed about the many sounds, silences and emotions that circulated in the prison. Since they were kept in total darkness during their stay in Saydnaya, their memories and impressions are sonic. The piece can therefore be called a sonic testimony and the detainees are referred to as earwitnesses. The methodological framework of this study is outlined by Salomé Voegelin in her book Listening to Noise and Silence. In the core of this method lies the notion of deep listening (also called sonic sensibility). From listening noise and silence naturally unfold. In order to define and discover the affects of the artwork and its sonic material, the theoretical work of Gilles Deleuze, Brian Massumi and Sara Ahmed is applied. More specifically the concepts of lines of flight and affect. Emotions and sound seem to blend in the most peculiar ways. This essay is just a suggestion of how that blend might look... or should I say sound? And most importantly this essay will investigate how these non-visual forces work, stick and flow. How they can be used and what they produce. Some of the questions that this essay will touch upon are: what are the sonic affects that this artwork produces? And how does the artist use noise and silence in the construction of Saydnaya?
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Frisón, Fernández Carlota. "El silencio en las imágenes cinematográficas. Formas audiovisuales en el cine español del siglo XXI." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/384477.
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Este trabajo de investigación se propone estudiar la fenomenología del silencio en el cine, especialmente su conformación en el cine español contemporáneo del siglo XXI. Se parte de la hipótesis de que las aproximaciones que se han hecho sobre el silencio en referencia a cualquier manifestación humana, y también las específicamente cinematográficas, han sido abordadas y entendidas mayoritariamente en términos de ausencia, de falta o carencia. La intención del trabajo es discutir esta concepción, así como analizar la conformación del concepto en sí. La idea en la que se centra esta investigación es la siguiente: el silencio se construye, está lleno de contenido y por tanto cuando se introduce en la imagen cinematográfica pone de manifiesto aquello que no siempre es reconocido como constructor de la imagen en silencio.
Se parte de la premisa de que la presencia del silencio en cine es una construcción que se especifica en el transcurso de la película; se trata de una representación metafórica dotada de una activación repleta de especificidad. Se concreta que el silencio en el cine es una construcción metafórica que, al ser construida en la praxis fílmica, adquiere los perfiles específicos de este campo. El cine es, en sí mismo, una metáfora en movimiento y ello implica la existencia de procesos de transformación visual y sonora. Es a partir de esta conceptualización que se explora cómo y qué conforma el silencio. Mediante el análisis retórico de las formas audiovisuales del cine español del siglo XXI se busca detectar cómo se erige el silencio y cómo se manifiesta en la praxis fílmica.<br>The present investigation aims at studying the phenomenology of silence in film, in particular, its shaping in contemporary Spanish cinema (XXIst C). I start with the thesis that visions of silence as a human manifestation and, the cinematic ones in particular, have previously been addressed and understood in terms of absence, omission or lack of. The goal of this paper is to discuss this conception, as well as to analyze the configuration of the concept itself. I focus mainly on the idea that silence is a construction full of meaning hence when included within the cinematic image it displays what we don’t usually acknowledge as an organizer of the silent image.
Stemming from the belief that the presence of cinematic silence is a construction that is specified during the film and a metaphor which works as a completely specific element, silence in cinema is a metaphoric construction that, whenever it is constructed in film, it relates and showcases the specific features of this field. A film is, itself, a moving metaphor, and that involves the existence of sonic and visual processes of transformation. It is from this conceptualization that I’ll be exploring what silence is made of and how it is established. Through the rhetoric analysis of contemporary Spanish films I’ll seek to identify how silence is constructed and portrayed in films.
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Guglielmetti, Yohann. "De la relation entre musique et images, en prenant comme témoin le cinéma du réalisateur-compositeur Tom Tykwer." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H317/document.
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La sempiternelle recherche de compréhension par le visuel, des émotions générées par la musique, ouvre un horizon de paradoxes au cinéma qui mérite que l'on s'y attarde. L'esthétique du réalisateur-compositeur Tom Tykwer qui réalise ses films comme Wagner compose ses opéras en écrivant partition et livret, et dont l'inflexibilité sur sa double fonction est probablement unique au cinéma, nous sert de modèle pour consolider notre révision de quelques pensées communément admises sur la relation entre musique et images. Nous y revisitons la définition de la musique en tant que matière sonore du film, la question de sa concordance avec l'image, de son indépendance alors qu'elle intègre un tout unifié, ainsi que de son rapport aux sens et à leur transcendance. Les images comme substrat matériel et la musique comme élément de conscience chez ce réalisateur-compositeur, conservent leur autonomie de sens alors même que la partition est intimement liée à la structure du film. Elles s'inscrivent dans un rapport de complémentarité qui remet en cause tout un paradigme basé sur l'idée d'analogie ou de convergence, en somme, de dualité entre images et musique au cinéma<br>The perennial search of comprehension by the visual, of emotions generated by music, opens an horizon of paradoxes in cinema that merits further consideration. Filmmaker-composer Tom Tykwer's aesthetics that allows him to direct movies as Wagner composes his operas by writing scores and libretto, and whose inflexibility of his double function is probably unique in cinema, serve us as model to strengthen our revision of some commonly admitted thoughts about the relationship between music and images. We reassess the definition of music as sound material of films, the question of its concordance with the image, of its indépendence even though it integrates an unified whole, as well as its connection with the senses and their transcendence. Images as material substrate and music as element of consciousness in this director-composer's work retain their autonomy of sense while the score is closely connected to the film'structure. They are consistent with a complementary relation that questions an entire paradigm based on the idea of analogy or convergence, in short, of a duality between images and music in cinema
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Ruschel, Magda Rosí. "O silêncio retratado em imagens fílmicas." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6810.
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Previous issue date: 2017-09-29<br>UNISINOS - Universidade do Vale do Rio dos Sinos<br>A presente tese aborda a invenção de construtos de silêncio em imagens fílmicas. A reflexão dialetiza os imaginários e as tecnologias do silêncio no cinema em perspectiva tecnocultural e das audiovisualidades, inclui os atravessamentos provocados por outros meios de comunicação. A pesquisa investiga e problematiza sobre a técnica e a estética no processo de produção de imagens audiovisuais que ampliam e aprofundam a formalização de um misto composto pelas sonoridades do silêncio como uma virtualidade atualizada em efeitos no desenho de som retratados em três filmes: O silêncio (1963), de Ingmar Bergman, Gravidade (2013), de Alfonso Cuarón, e Aningaaq (2013), de Jonas Cuarón. Os aportes teóricos-metodológicos utilizados associam os procedimentos cartográficos de Benjamin, o método intuitivo de Bergson e a metodologia das molduras de Kilpp. Articula conceitos de autores, tais como, Dubois, Flusser, Didi-huberman, Rancière e Virilio. O objetivo é potencializar os estudos sobre as dimensões sonoras do audiovisual e sobre a voluminosidade do silêncio como lugar da compenetração de estados, trabalhando imagens-memória, como se fossem uma frase-imagem ou forma-imagem. Experimentando por meio do ato de auscultar e de fotografar inscrições em infonográficos extraídos mediante percepções e afecções que emolduram uma experiência sensível e do entendimento de uma legibilidade dos efeitos produzidos em tessituras de tempo e espaço. Essa foi a maneira de autenticar velocidades de leituras rítmicas do som e do silêncio em sucessividade, em simultaneidade e em espessurização. Elege estados que produzem a sensação ou ilusão de presença e sentido considerados como pertencimentos a arquiteturas e instrumentos de medidas gerando operações de apreensão do objeto de estudos formado pelos retratos sonoros: expressões, salões, códigos e espessuras de silêncio. A colocação do problema desta pesquisa, intencionou a autenticação de uma escuta do silêncio como uma imagem sonora e, ou como uma audioperformance. Os resultados alcançados contribuem na compreensão dos processos de imaginação no rearranjo técnico e estético de uma paisagem sonora que engendra o sistema analógico e o digital de codificar imagens em movimento, nos modos de ser e do agir dos efeitos em ambiências audiovisuais, e no projetar formas no desenho de som para criar possibilidades teóricas-metodológicas de uma escuta das materialidades do silêncio na experiência fílmica.<br>The present dissertation focuses on the invention of silence constructs in filmic images. The reflection dialyzes the imaginary and the technologies of silence in the cinema in a technocultural and audiovisual perspective, and it includes the crossings provoked by other means of communication. The research investigates and problematizes on the technique and the aesthetics in the process of producing audiovisual images that amplify and deepen the formalization of a composite consisting of the sonorities of silence as a virtuality updated in effects in the drawing of sound portrayed in three films: The silence (1963), by Ingmar Bergman, Gravity (2013, by Alfonso Cuarón, and Aningaaq (2013), by Jonas Cuarón. The theoretical-methodological contributions used are associated with Benjamin’s cartographic procedures, Bergson's intuitive method, and Kilpp’s frame methodology. It articulates authors’ concepts such as Dubois, Flusser, Didi-huberman, Rancière and Virilio. The aim is to strengthen the studies on the audio-visual dimensions and the voluminosity of silence as a place for the interpenetration of states, working memory images as if they were a sentence-image or image-form. Experiencing through the act of listening and photographing inscriptions in infonografics extracted by perceptions and affections that frame a sensitive experience and the understanding of a readability of the effects produced in tessituras of time and space. This was the way to authenticate velocities of rhythmic readings of sound and silence in successiveness, simultaneity and thickening. It elects states that produce the sensation or illusion of presence and meaning considered as belonging to architectures and instruments of measures generating operations of apprehension of the object of studies formed by the sonorous portraits: expressions, halls, codes and thickenesses of silence. The placement of this research problem intended the authentication of a listening of silence as a sound image and, or as an audio performance. The results obtained contribute to the understending of the processes of imagination in the technical and aesthetic rearrangement of a soundscape that engenders the analogue and digital system of coding moving images, in the modes of being and acting of effects in audiovisual environments, and in designing forms in the sound design to create theoretical-methodological possibilities of a listening of the materialities of the silence in the filmic experience.
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Stolf, Maria Raquel da Silva. "Entre a palavra pênsil e a escuta porosa : [investigações sob proposições sonoras]." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/34774.
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Esta pesquisa apresenta investigações teóricas interseccionais à produção de “proposições sonoras” (agrupadas em CDs de áudio) que podem ser desdobradas em instalações, ações, intervenções, vídeos, fotografias, textos e desenhos. Para tanto, busca-se pensar ressonâncias, intersecções, desvios e deslocamentos entre sons, textos e contextos, propondo articulações entre algumas questões que atravessam minha produção, perguntas que partem das proposições realizadas. São elas: como articular relações entre a palavra (escrita e falada), a leitura e a escuta através de minhas proposições? Como colocar a escrita e a escuta em suspensão? Como oscilar ou suspender um texto? Como propor uma escuta que perceba e pense modulações entre barulho, ruído e rumor? Como propor uma escuta de silêncios? Como são concatenados meus CDs de áudio e de que modo ocorrem os desdobramentos das proposições sonoras em instalações, ações sonoras e vídeos? A nuvem de perguntas acima dialoga com uma série de autores e está atrelada a trabalhos agrupados em três blocos co-implicados: “Palavra pênsil”, “Barulho, ruído e rumor” e “Silêncio acústico”. Nesses blocos, aborda-se: o uso de palavras em proposições artísticas, que pressupõe um processo de escrita em que a palavra ocupa espaço e solicita tempo, que pende e se torna “palavra-partitura”, catalisando desdobramentos sonoros e experiências acústicas; a questão da escuta, propondo-se estremecê-la e exercitá-la como uma escuta que absorve os ruídos do entorno, que percebe e reinventa variações entre barulho, ruído e rumor (palavras-conceitos definidos a partir de suas espessuras etimológicas e a partir das proposições apresentadas); investigações em torno de conceitos de silêncio: o silêncio enquanto suspensão de sentido, rumor incessante e uma espécie de silêncio que transita semanticamente na própria escuta.<br>This study presents intersectional theoretical research about the production of “sonorous propositions” (grouped in audio CDs) that can be applied in installations, actions, interventions, videos, photographs, texts and designs. To do so, it considers resonances, intersections, deviations and movement between sounds, texts, and contexts, proposing articulations between questions that are raised in my production that spring from the propositions realized. They are: how to articulate relations between the word (written and spoken) and reading and listening through my propositions? How can writing and listening be placed in suspension? How can a text be oscillated or suspended? How can a listening be proposed that perceives and considers modulations between noise, din and rumbling? How can a listening to silences be proposed? How are my audio CDs concatenated and in what way are the sonorous propositions developed in the installations, sonorous actions and videos? This cloud of questions dialogs with a series of authors and is related to works grouped in three related sets: “Suspended word,” “Noise, din and rumble” and “Acoustic silence.” Within these sets the use of words in artistic propositions is approached, which presupposes a writing process in which the word occupies space and solicits time, which becomes suspended and becomes a “word-score,” catalyzing sonorous developments and acoustic experiences; the question of listening proposes to rattle and exercise it as a listening that absorbs the surrounding din, which perceives and reinvents variations between noise, din and rumble (conceptual words defined by their etymological depth and based on the propositions presented); investigations around the concepts of silence: silence as suspension of sense, incessant rumble and a type of silence that semantically travels within listening itself.
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Ramsey, Lynn. "“An Indescribable Sound” in William Faulkner’s The Sound and the Fury." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1746.
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The Sound and the Fury is a noisy book. Through the audible, the barely audible, and the silence, William Faulkner supports his narrative design with sound beyond dialog to inform and inflect the destabilizing narrative voices. This essay explores Faulkner's use of the sound and noise of the novel as another narrative voice. Faulkner's rich use of sound as a recurring motif, almost a persona or narrator itself, functions not merely to animate the action, the characters, and the title; it also speaks in the "hush" and the freighted "stiffly sibilant" whispers of those who dare not speak, or are "trying to say," while simultaneously running as a voiceless current beneath the disjunctive narrative. The range and quality of sound wavers throughout, from the musical to the "indescribable," as the past and present repeatedly segue forward and back to this soundtrack. Like the otherworldly racket of Macbeth, the noise of the novel plays beneath the surface, begging to be heard.
Much scholarship has been devoted to exploring Faulkner's The Sound and the Fury, yet the text continues to reveal layers of meaning and resonance to yet another generation. This study seeks to interrogate the nature, function, and musicality of the sound, noise, and silence of the text as adumbrated in the rhetoric of Reverend Shegog's Easter sermon, Luster's valiant attempts to play on the saw the "inaudible tune," the ubiquitous bells, and Dilsey's determination through it all to sing. This study hopes to enter into the conversation on Faulkner's enduring work by listening to what the text is "trying to say."
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Bihl, Erik. "The captivating use of silence in film : How silence affects the emotional aspect of cinema." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14697.
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In this thesis I use both Dense Clarity - Clear Density as well as qualitative interviewing as methods to guide me through this examination of sound design. Through studying other works and executing personal tests I try to find out if there is a need to use sound and silence in a creative way to evoke emotion. I examine films as well as literature from the 1960s all the way to the 2000s, to see how the use of silence has unfolded over the years. I also create a visual production that strengthens my theory that silence affects narrative more than its credited for. But the essay isn’t just about silence, it’s revolved around sound too, expanding into how sound correlates with emotion and how one can apply it to their production.<br>I detta kandidatarbete använder jag både Dense Clarity - Clear Density samt Kvalitativ Intervju som metoder för att vägleda mig igenom denna forskning om ljuddesign. Jag kommer att studera andra verk och utföra egna experiment, med detta vill jag se om det finns ett behov av att använda ljud och tystnad på ett kreativt sätt för att väcka känslor. Jag granskar, samt undersöker både film och litteratur från 1960-talet, ända fram till 2000-talet för att se hur användningen av tystnad i film har utfällt sig genom åren. Med att jag skapar en visuell produktion, så stärks min teori, som är att tystnad kan påverka filmens narrativ, oerhört. Men denna uppsats kretsar inte bara runt tystnad, utan även runt ljud som korrelerar med känslor och hur man kan använda sig av deras relation för att skapa en starkare produktion.
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Guida, Michael. "Birds, bombs, silence : listening to nature during wartime and its aftermath in Britain, 1914-1945." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/75136/.
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Schreiner, Florian. "Laut, Ton, Stärke." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2010. http://dx.doi.org/10.18452/16126.
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Historisch wird die Arbeit von zwei Daten her begrenzt, von den ersten hör-physiologischen Experimenten seit 1850, und von den massenwirksamen akustischen Inszenierungen der 1930er Jahre in „real auditory perspective“. Die Arbeit beginnt in Kapitel I mit dem tragischen Fall des Regisseurs und langjährigen Psychiatrie-Patienten Antonin Artaud, der die Sprache zugunsten von Lauten, Gebärden und Schreien verlässt. Seine Experimente zum Theater geben zu einer ersten Korrektur von Bildlichkeit Anlass. In Kapitel II wird der Vorrang der Bildlichkeit grundsätzlich in Frage gestellt, die Differenz von Bild und Klang wissenschaftshistorisch auseinandergesetzt, und ein „acoustic turn“ zur Welt vorbereitet. Die Untersuchungen des Physiologen und Akustikers Hermann von Helmholtz sind hier maßgeblich, denn sie beeinflussen die Technische Akustik von ihren Anfängen her. Das Kapitel III schließlich untersucht im transatlantischen Vergleich die technischen Bedingungen nach 1900. Die Beschallungsanlage hat nun die Fähigkeit, alltäglich in den Dienst genommen zu werden, und auch politischen Manipulationen diensthaft zu sein.<br>Historically the work is framed by two dates, by the physiological experiments of hearing and the mise en scène of a massed and sonic attack in so called „real auditory perspective“ of the 1930s. The first chapter starts with the tragedic and long living psychiatric case Antonin Artaud, who moves away from clarity of sounds to phones, gestures and crying. Such experiments give cause for a fundamental rethinking of meaning in the sense of picture, and leads to the second chapter which argues in more detail for the lap of our sonic understanding of the world. This way speeds up to an „acoutic turn“ by a retour to the biological grounds of sonic perception. The physiological and acoustic inquiries of Hermann von Helmholtz fit here to the ground for him being starting point of what will later be called „technische Akustik“. The third chapter bridges Europe´s early Telefunken-years with the United States and their chief acousticians at the legendary Bell Laboratories, and seeks finally for light in scientific amnesia against progress and control, or what the germans call „Betriebsamkeit“ and „Gestell.“ (Heidegger)
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Mai, Nadin. "The aesthetics of absence and duration in the post-trauma cinema of Lav Diaz." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/22990.
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Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.
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Hsiang, Jen-hui, and 項人慧. "Sound in Silence: Ada's Voices in Jame Campion's The Piano." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/97589653990996141879.
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碩士<br>淡江大學<br>西洋語文研究所<br>84<br>In The Piano, we observe a special famale figure, Ada, whose
muteness is self-imposed. I believe the reason she can
successfully stop speaking at the age of six is her
supernatural will power, which later might have caused a
demonic image of her. And this supernatural will also helps
Ada to achieve anyghing she wants. Using it she stopped
speaking and therefore isolated herself in the society. She
has made herself an outsider by her muteness. However, Ada
still connects with some people. I suppose it is because of
her use of different tools as her "voices." They are her
signing, writing, her piano and her mind's voice. These
special voices allow her to build relationship with other
people and to express herself and her moods. I believe that Ada
is a woman desires for a real freedom from the social and
cultural restraints. Although Ada has chosen to be mute to
fight against the restraints, and therefore develops her
special use of voices, her longing for silence is still her
deepest desire: to be free from sounds and society and people.
The open-ending of Ada's story allows us to imagine the
strength of her emotion while she is facing the dilemma of
choosing between lonely silence and social life with Baines.
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"The Sound of Silence: First Nations and British Columbia Emergency Management." Thesis, 2015. http://hdl.handle.net/10388/ETD-2015-08-2241.
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In this thesis I offer a brief overview of the current legislative, regulatory and treaty frameworks impacting emergency management in British Columbia, with a particular emphasis on Crown-identified First Nation roles. I show that the regime overwhelmingly positions non-First Nation governments, contractors and other organizations to manage emergencies on behalf of First Nations. I explore emergency management as a manifold process that includes protracted planning, mitigation and recovery phases, which, unlike emergency response, are carried out with lower levels of urgency. I consider Canadian Constitution Act, 1982 (s. 35) Aboriginal rights in light of the lack of statutorily prescribed inclusion of First Nations in off-reserve emergency management, particularly at the planning, mitigation and recovery phases concluding that the jurisprudence to date (including the duty to consult and Aboriginal title) does not appear to have revolutionized the regime. While the constitutional status of Aboriginal rights should operate to insure adequate First Nation direction in each stage of emergency management, the regime continues to restrictively prioritize other constitutional priorities, such as division of powers and civil liberties. To better understand the omission, I theorize the lack of Crown implementation of s. 35 Aboriginal rights generally as an ‘obligation gap’, highlighting how an analysis of s. 35 Aboriginal rights as ‘negative rights’ fails to compel implementation of the full scope of Crown obligations implicit within the jurisprudence to date. I then offer a new framework for s. 35 as justiciable ‘recognition rights’ and juxtapose ‘recognition rights’ with the idea of justiciability of government inaction through a brief comparative analysis of socioeconomic rights in South Africa’s constitution and Canada’s constitutional Aboriginal rights.
With a decided emphasis on the obligations of the Crown, this thesis attempts to offer fodder to First Nations and legal practitioners seeking to challenge the emergency management landscape where First Nations seek an enhanced role in protecting and restoring their respective territories in anticipation of, and in the wake of, disaster. For convenience and clarity, contemporary geographical and jurisdictional references to the areas now known as Canada and British Columbia are used throughout the thesis without intention to detract from the integrity of First Nation claims to their traditional and ancestral territories.
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Silva, Rui. "Sound Speeding: Tactics of Noise and Silence in Moving Picture Production - The Horse Bride - A Case Study." Dissertação, 2012. http://hdl.handle.net/10216/75448.
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Hsu, Su-Ching, and 許素菁. "Between Noise And Silence: The Role of Fashion Creation on the Connection of Sound and Human Perception." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/83xrep.
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碩士<br>實踐大學<br>時尚與媒體設計研究所碩士在職專班<br>102<br>Despite the obstacles resulted from geographic nature and space, through hearing, we are allowed to observe objects our eyes cannot reach. Hearing has the advantage on observation without directions; however, it is the sense for which we might have difficulty to filter information upon receiving.
The inspiration of this article is from the noise in a city, which initiates the author to pursue the study on the history of sound. In ancient tribes, sound was considered as sacred noise. Today, constructions and developments in cities generate noise in a massive and invasive scale. Sometimes sound is also used as a weapon or means to autocracy, which forms sounds imperialism. To prevent us from the invasion of noise, we have trained ourselves to neglect certain noise, and built sound walls to isolate ourselves from unwelcoming sound.
Sound is no longer merely a communication media. In our society, it has become a commodity. Through trading and exchanging, we can choose to be in a noisy or silent environment.
Usually we say: seeing is believing. However, even though we cannot visualize sound, it has a significant effect on our bodies. Sound waves enter our bodies in a tactual way. When we experience massive sound waves, our hearing ability is damaged, the flow of blood is affected, our emotion is fluctuated, and etc..
In this article, the author tries to visualize sound through fashion creation. By studying the effects of different types of fabrics or non-fabrics on the sound to bodies, along with the aid of body expressions, different types of sound are visualized. Conflicts and harmonies resulted from different types of sound can then be expressed.
Through the process of visualizing sound in a fashion way, the author expects to draw more public interests towards the sonic environment, and more attentions on psychoacoustics. Humans resent noise, but seem to be also afraid of silence. Although we have the ability to manipulate sound, doing so without care and awareness will result conflicts instead of harmonies.
Noise is not only an environmental issue we are facing, it also plays an important role on the mental wellness. A great ca¬re on reducing different types of noises is necessary in order to improve our mental wellness.
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Silva, Rui Manuel Ferreira de Sousa e. "Sound speeding : tactics of noise and silence in moving picture production - the horse bridge - a case study." Dissertação, 2012. http://hdl.handle.net/10216/68080.
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Silva, Rui Manuel Ferreira de Sousa e. "Sound Speeding: Tactics of Noise and Silence in Moving Picture Production - The Horse Bride - A Case Study." Dissertação, 2012. https://repositorio-aberto.up.pt/handle/10216/64877.
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Silva, Rui Manuel Ferreira de Sousa e. "Sound speeding : tactics of noise and silence in moving picture production - the horse bridge - a case study." Master's thesis, 2012. http://hdl.handle.net/10216/68080.
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Silva, Rui Manuel Ferreira de Sousa e. "Sound Speeding: Tactics of Noise and Silence in Moving Picture Production - The Horse Bride - A Case Study." Master's thesis, 2012. https://repositorio-aberto.up.pt/handle/10216/64877.
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MICHÁLKOVÁ, Olga. "Ticho a zvuk." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-136500.
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This theses focused on the topic of silence and sound is divided in two section. Theoretical part contains information and knowledge from fields of physical phenomena, theory opf colors, psychology and theory of art (mainly based on work of W. Kandinski), that establish theorethical baseline for practical part, in this case realized graphic intent. Realization of practical part is an authorial construction of plastic interpretation of silence and sound. It tries to graphically express these two constructs with combination of pottery and glass in colorful compositions.
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Brickey, Alyson. ""The little twist of sound could have the whole of her:" silence, repetition, and musicality in Virginia Woolf's "Between the Acts" and Gertrude Stein's "The Mother of Us All"." 2010. http://hdl.handle.net/1993/4100.
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This thesis tracks an alternative trajectory for thinking about the way in which modernist texts incorporate silence as an aesthetic and a theme, one that departs from those currently favoured by contemporary modernist criticism. Particularly, I wish to move away from the prevailing approach to Virginia Woolf's texts that borders on biographical criticism, an approach that theorizes silence as indicative of the author's trauma, pointing to that which is 'unsayable' as evidence of some psychically unassimilable event. Instead, I argue that by experimenting with an aesthetics of silence, repetition, and musicality, Woolf is participating in a wider cultural debate. With Between the Acts, I believe she seeks to incorporate sound to such a degree that the novel becomes a listenable art piece, requiring a reconceptualization of reading as not only a visual act, but an aural one as well.
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Aragon, Racheal. "Re-sounding Harlem Renaissance narratives : the repetition and representation of identity through sound in Nella Larsen's Passing and Toni Morrison's Jazz." Thesis, 2013. http://hdl.handle.net/1957/38187.
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The cultural and historical construction of African American identity in the United States has been closely tied to the dialectical relationship formed between sound and silence. This thesis examines the modernist and postmodernist representation of sound and silence in the African American novels Passing (1929), by Nella Larsen, and Jazz (1992), by Toni Morrison, as indicators of African American identity and racial oppression during the Harlem Renaissance. I analyze the soundscapes of both texts to expose the mobility of language, power, and space, especially as these soundscapes relate to the production of sound (both musical and non-musical) by African Americans, and the surveillance of these sounds by white audiences. Through my analysis of repetitive sound-images and embodied silence in Passing and Jazz, as well as textual representations of oral performance, I argue that there is harm in restricting African American voices to approved modes of audibility and/or limiting African American voices to one a singular narrative. This thesis introduces critics and theories from the disciplines of sound studies and African American studies, and applies the widely known theory of double consciousness, established by critic and author W.E.B. Du Bois, as the foundation for my literary and cultural analysis of sound in print.<br>Graduation date: 2013
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Yonnone, Patrick M. "Comparing silence with verbal & non-verbal music and irrelevant speech in mathematics assessment." 2012. http://hdl.handle.net/2152/19918.
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This study looks at the effects of silence as compared to two different types of music and one type of irrelevant speech to analyze the effects on an assessment of 4 categories of mathematical questions. The hypothesis tested was that students would perform best when subject to no distraction (silence), followed closely by non-verbal music (dubstep), while verbal music (Rap) and irrelevant self-speech (repeating the word ‘za’) would result in a decrease in performance. The hypothesis was not found to be statistically significant, but a general trend supporting the hypothesis was present and found to be consistent with similar research.<br>text