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I will leave you now and this loudspeaker will take my place

I will leave you now and this loudspeaker will take my place Notions of `presence' and `liveness' run through academic theories and popular conceptions of sound mediation generally, and mediation of voice in particular. This article looks at experimental video that engages with these questions, particularly around the notion of the `authentic' voice and vocal `presence'. We will demonstrate how these different experimental approaches explore the interaction between voice, vocal technique and audio-visual technology, thus challenging and interrogating conventions of how the soundtrack represents the voice and (in conjunction with the moving image) the audio-visually mediated body. Presenting Anneke Kampman's work as an experimental practice-led research response to seminal theories of sound and the film soundtrack, we provide further context through engagement with key examples of earlier video ´ art and sound art by Vladan Radovanovic, Richard Serra, and Meredith Monk. Overall, the article intervenes by demonstrating how video art and sound art can address key theoretical questions concerning voice and body in a broader sound and moving image context, as well as adopting a sound-focussed approach to aesthetic analysis of video art. KEYWORDS voice presence timbre synchrony video art experimental film and video The New Soundtrack 6.1 (2016): 17­27 DOI: 10.3366/sound.2016.0080 # Edinburgh University Press and the Contributors www.euppublishing.com/journal/sound http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

I will leave you now and this loudspeaker will take my place

Johnston, Nessa; Kampman, Anneke
The New Soundtrack , Volume 6 (1): 17 – Mar 1, 2016
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press and the Contributors
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2016.0080
Publisher site
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Abstract

Notions of `presence' and `liveness' run through academic theories and popular conceptions of sound mediation generally, and mediation of voice in particular. This article looks at experimental video that engages with these questions, particularly around the notion of the `authentic' voice and vocal `presence'. We will demonstrate how these different experimental approaches explore the interaction between voice, vocal technique and audio-visual technology, thus challenging and interrogating conventions of how the soundtrack represents the voice and (in conjunction with the moving image) the audio-visually mediated body. Presenting Anneke Kampman's work as an experimental practice-led research response to seminal theories of sound and the film soundtrack, we provide further context through engagement with key examples of earlier video ´ art and sound art by Vladan Radovanovic, Richard Serra, and Meredith Monk. Overall, the article intervenes by demonstrating how video art and sound art can address key theoretical questions concerning voice and body in a broader sound and moving image context, as well as adopting a sound-focussed approach to aesthetic analysis of video art. KEYWORDS voice presence timbre synchrony video art experimental film and video The New Soundtrack 6.1 (2016): 17­27 DOI: 10.3366/sound.2016.0080 # Edinburgh University Press and the Contributors www.euppublishing.com/journal/sound

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2016

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