Son(ic)onics: Corporeal Interactivities of Sound and Image is a research-through-practice group based at the AV Lab.
Convened by Markos Hadjioannou, this project addresses the relationship between sound and image by focusing on the interaction between the sonic and the iconic. The direction of inquiry will be theoretical, thinking about the physicality of sound in relation to the materiality of the image. From sonic vibrations and reverberations, to visual traces and representations, the project seeks to develop current theories inspired by continental philosophy, film theory, media theory, and sound/music studies, with the aim of investigating ways of interpreting examples of contemporary audiovisual works. The primary focus will be cinema, installation art, performance, and new media works—though other ideas are welcome.
The first part of this project took place during the fall and spring semesters 2013-2014. During these sessions, the group met to discuss some seminal readings, to introduce new approaches and possible theoretical avenues, and to put into practice through short videos some of our theoretical findings or queries. During the fall semester, 2014-2015, we will continue our meetings by focusing further on the practical part of the project, with the aim of having a set amount of work to present at a local gallery by the end of
Below are videos that illustrate the diversity that the interactive relationship between sound and icon may take. The first is a clip from David Lynch’s surrealist film Mulholland Drive (2001); the second is a recording of Bill Viola’s monumental installation piece Five Angels for the Millennium (2001); the third is a brief discussion of sound design in Katie Mitchell’s innovative theatrical performance …some trace of her; and the last is a trailer for Simon Pummell’s ambitious interactive documentary Bodysong (2003).