Defying mainstream views of AI as tools that mimic or replace human input, this paper presents Sonic Alchemist: an avant-garde AI software taking a fresh approach to sound design. Built on the Beginner’s Mind principles, it empowers users to defy familiar paths and habits, fostering collaboration between human and machine. Unique features like automatic sound effects matching and a weight-based sound selection system further enhance this partnership. User feedback and case studies highlight Sonic Alchemist’s capacity to evoke new insights and unexpected solutions, reinforcing its role as a creative ally. Analysis of industry reception and user responses during testing underscores its potential to transform sound design in visual media. This study underlines the enduring significance of human originality, even in the AI era, portraying Sonic Alchemist as an inspiration tool and a champion of human creativity. It asserts that the willingness to unlearn and rediscover is key in creative innovation, even when assisted by advanced AI tools.
人们普遍认为人工智能是模仿或取代人类输入的工具，本文介绍的 Sonic Alchemist 是一款前卫的人工智能软件，采用全新的方法进行声音设计。该软件基于初学者思维原则，让用户能够打破熟悉的路径和习惯，促进人类与机器之间的合作。自动音效匹配和基于权重的声音选择系统等独特功能进一步加强了这种合作关系。用户反馈和案例研究突出表明，Sonic Alchemist 能够唤起新的洞察力和意想不到的解决方案，从而加强了其作为创意盟友的作用。对行业接受度和用户在测试过程中的反应进行的分析强调了它在改变视觉媒体声音设计方面的潜力。这项研究强调了人类原创性的持久意义，即使在人工智能时代也是如此，并将《声波炼金术师》描绘成一种灵感工具和人类创造力的捍卫者。本研究认为，即使在先进的人工智能工具的帮助下，愿意放弃学习和重新发现也是创造性创新的关键所在。
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Pub Date : 2023-12-29DOI: 10.24140/ijfma.v8.n3.edit
Kym Campbell, Ross Adrian Williams
The dynamic dance of sound and image in the cinematic landscape continually prompts thoughtful analysis and reflection. Michel Chion’s 2019 insight, “You do not see the same thing when you hear, and you do not hear the same thing when you see,” captures a nuanced truth. For those steeped in the world of sound studies, this observation seems almost self-evident, underscoring the balanced role each sense plays in our cinematic experiences. Yet, it’s worth noting that only some people share this perspective. Sound has a subtle way of entering our awareness, often operating in the shadows of our consciousness. Its influence, though sometimes unnoticed, is deeply powerful—acting as the invisible puppeteer of our emotional responses and steering our interpretation of stories.
{"title":"Editorial: Sound – Screen – Research","authors":"Kym Campbell, Ross Adrian Williams","doi":"10.24140/ijfma.v8.n3.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n3.edit","url":null,"abstract":"The dynamic dance of sound and image in the cinematic landscape continually prompts thoughtful analysis and reflection. Michel Chion’s 2019 insight, “You do not see the same thing when you hear, and you do not hear the same thing when you see,” captures a nuanced truth. For those steeped in the world of sound studies, this observation seems almost self-evident, underscoring the balanced role each sense plays in our cinematic experiences. Yet, it’s worth noting that only some people share this perspective. Sound has a subtle way of entering our awareness, often operating in the shadows of our consciousness. Its influence, though sometimes unnoticed, is deeply powerful—acting as the invisible puppeteer of our emotional responses and steering our interpretation of stories.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" 47","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139143873","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The use of voice-over often divides both filmmakers and critics - its opponents objecting to the borrowing of a literary device. By examining a multitude of examples this paper seeks to demonstrate that it has often enhanced the effectiveness of film narrative both in the actual storytelling and the emotional impact, by applying a sensitivity in the writing and a careful casting of the voice and performance of the unseen actor or actors.
{"title":"Film and the Disembodied Voice","authors":"Roger Crittenden","doi":"10.24140/ijfma.v8.n3.02","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n3.02","url":null,"abstract":"The use of voice-over often divides both filmmakers and critics - its opponents objecting to the borrowing of a literary device. By examining a multitude of examples this paper seeks to demonstrate that it has often enhanced the effectiveness of film narrative both in the actual storytelling and the emotional impact, by applying a sensitivity in the writing and a careful casting of the voice and performance of the unseen actor or actors.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":"65 S298","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139146752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay considers issues relating to how sound has been treated historically by screenwriters, and advocates for a more “sound-conscious” screenwriting practice. From my own position as a screenwriter and educator of student screenwriters I begin by looking at common assumptions about the use of sound in screenplays and explore the challenges of including sound as part of a screenwriting practice; then I develop a framework by which screenwriters can identify different categories of sound in order to recognise potential for using sound as a storytelling tool within screenplays. This leads to an analysis of two examples of what could be defined as sound-conscious screenwriting, The Conversation (1974) and A Quiet Place (2018) and the framework is also applied to a sample of recent unproduced screenplays. I conclude with thoughts about how ‘sound-consciousness’ can be encouraged through the pedagogy of screenwriting.
{"title":"“Sound-Conscious” Screenwriting: Considering sound as storytelling tool in the screenplay","authors":"Ben Slater","doi":"10.24140/ijfma.v8.n3.05","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n3.05","url":null,"abstract":"This essay considers issues relating to how sound has been treated historically by screenwriters, and advocates for a more “sound-conscious” screenwriting practice. From my own position as a screenwriter and educator of student screenwriters I begin by looking at common assumptions about the use of sound in screenplays and explore the challenges of including sound as part of a screenwriting practice; then I develop a framework by which screenwriters can identify different categories of sound in order to recognise potential for using sound as a storytelling tool within screenplays. This leads to an analysis of two examples of what could be defined as sound-conscious screenwriting, The Conversation (1974) and A Quiet Place (2018) and the framework is also applied to a sample of recent unproduced screenplays. I conclude with thoughts about how ‘sound-consciousness’ can be encouraged through the pedagogy of screenwriting.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" 34","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139143964","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate loudspeakers to accompany their exhibits. In stark contrast, innovative exhibition concepts are foregrounding the profound impact of audio-visual installations. These installations completely rethink exhibition experiences, offering visitors entirely new dimensions of engagement within the realms of art, history, and science. In the context of planetariums, a substantial majority of shows continue to feature cosmological themes and scientific narratives presented in full-dome environments. Nevertheless, universities and younger audio-visual designers are now pioneering groundbreaking advancements in immersive audio-visual experiences. The evolution of theatre is yet another arena undergoing a profound metamorphosis due to the integration of audio-visual elements. As multimedia theatre forms such as picture theatre, new music theatre, and dance theatre increasingly embrace interactive electronic media, the traditional theatrical experience is undergoing a paradigm shift. This departure from convention is ushering in a new era of audio-visual performance quality that transcends prior artistic boundaries. Given these transformative trends, the study of sound design is compelled to evolve in tandem. Incorporating visual tasks into the curriculum is becoming imperative, as sound designers navigate these innovative frontiers of multimedia integration. By embracing cross-disciplinary approaches that encompass both sonic and visual dimensions, aspiring sound designers will be better equipped to shape the future of immersive audio-visual storytelling across a diverse array of creative platforms.
{"title":"The future of audio-visual designers with a focus on sound","authors":"Jorge Lensing","doi":"10.24140/ijfma.v8.n3.03","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n3.03","url":null,"abstract":"Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate loudspeakers to accompany their exhibits. In stark contrast, innovative exhibition concepts are foregrounding the profound impact of audio-visual installations. These installations completely rethink exhibition experiences, offering visitors entirely new dimensions of engagement within the realms of art, history, and science. In the context of planetariums, a substantial majority of shows continue to feature cosmological themes and scientific narratives presented in full-dome environments. Nevertheless, universities and younger audio-visual designers are now pioneering groundbreaking advancements in immersive audio-visual experiences. The evolution of theatre is yet another arena undergoing a profound metamorphosis due to the integration of audio-visual elements. As multimedia theatre forms such as picture theatre, new music theatre, and dance theatre increasingly embrace interactive electronic media, the traditional theatrical experience is undergoing a paradigm shift. This departure from convention is ushering in a new era of audio-visual performance quality that transcends prior artistic boundaries. Given these transformative trends, the study of sound design is compelled to evolve in tandem. Incorporating visual tasks into the curriculum is becoming imperative, as sound designers navigate these innovative frontiers of multimedia integration. By embracing cross-disciplinary approaches that encompass both sonic and visual dimensions, aspiring sound designers will be better equipped to shape the future of immersive audio-visual storytelling across a diverse array of creative platforms.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139142352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sound dramaturgy as part of the aesthetic design of documentary films is invisible but most relevant, although often overlooked. The chapter gives a short introduction to dramaturgy and the importance of sound dramaturgy as most impactful for documentary film productions. The main discussion focusses on sound dramaturgy in films as The End Of Time (Mettler); The Island Of The Hungry Ghosts (Brady 2018), The Wale And The Raven (Leuze 2019) and El Sembrador de Estrellas (The Sower of Stars) by Lois Patiño. An analysis and discussion of the components of sound and music as part of the overall dramaturgical concept, the narrative flow, and their contribution to the final production and its sensual impact on the audience will allow a more informed understanding of such approach.
作为纪录片美学设计的一部分，声音剧作虽然常常被忽视，但却是无形的，也是最相关的。本章简要介绍了戏剧学以及声音戏剧学对纪录片制作最具影响力的重要性。主要讨论了《时间的尽头》（梅特勒）、《饿鬼岛》（布雷迪，2018 年）、《鲸鱼与乌鸦》（勒兹，2019 年）和洛伊斯-帕蒂尼奥的《播撒星辰》（El Sembrador de Estrellas）等影片中的声音戏剧学。通过分析和讨论声音和音乐作为整体戏剧概念的组成部分、叙事流程，以及它们对最终作品的贡献和对观众的感官影响，可以对这种方法有更深入的了解。
{"title":"Sound Dramaturgy","authors":"Kerstin Stutterheim","doi":"10.24140/ijfma.v8.n3.04","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n3.04","url":null,"abstract":"Sound dramaturgy as part of the aesthetic design of documentary films is invisible but most relevant, although often overlooked. The chapter gives a short introduction to dramaturgy and the importance of sound dramaturgy as most impactful for documentary film productions. The main discussion focusses on sound dramaturgy in films as The End Of Time (Mettler); The Island Of The Hungry Ghosts (Brady 2018), The Wale And The Raven (Leuze 2019) and El Sembrador de Estrellas (The Sower of Stars) by Lois Patiño. An analysis and discussion of the components of sound and music as part of the overall dramaturgical concept, the narrative flow, and their contribution to the final production and its sensual impact on the audience will allow a more informed understanding of such approach.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" 32","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139145017","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay will explore how in a post-cinematic environment, the voice introduces new forms of subjectivity that are distinct from those of the traditional cinematic discourses. According to Mary Ann Doane, to an audience, the “body reconstituted by technology and practices of the cinema is a fantasmatic body, which offers a support as well as a point of identification for the subject addressed by the film.” (see: M.A Doane, Yale French Studies , 1980, No. 60, Cinema/Sound (1980), pp. 33/34.) The voice, the dialogue and the sound are part of this fantasmatic body together with the image, the space and spectator in the cinema. But what happens when the framework of image production and image perception radically changes, creating a post-cinematic condition? A post-cinematic state – a condition of streams and networks that is the status quo of today’s digital culture. A state that not only affects aesthetics, but also changes the relationship between viewers, images, screens – and the very idea of subjectivity. It is here that the voice emerges in new forms. Here it plays an important role in our perception and understanding of the world and of ourselves. By examining various post-cinema phenomena such as ASMR or Networked Voices, as seen in recent experimental films by artists such as Ryan Trecartin and Lizzy Fitch, this essay will demonstrate how the voice in post-cinema creates a multiplicity of perspectives that play a key role for new technologies that constitute a subject very differently.
{"title":"The Construction of a Different Fantasmatic Body – Post-Cinematic Experience Between ASMR and Multi-Vocality","authors":"Marc Glöde","doi":"10.24140/ijfma.v8.n3.01","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n3.01","url":null,"abstract":"This essay will explore how in a post-cinematic environment, the voice introduces new forms of subjectivity that are distinct from those of the traditional cinematic discourses. According to Mary Ann Doane, to an audience, the “body reconstituted by technology and practices of the cinema is a fantasmatic body, which offers a support as well as a point of identification for the subject addressed by the film.” (see: M.A Doane, Yale French Studies , 1980, No. 60, Cinema/Sound (1980), pp. 33/34.) The voice, the dialogue and the sound are part of this fantasmatic body together with the image, the space and spectator in the cinema. But what happens when the framework of image production and image perception radically changes, creating a post-cinematic condition? A post-cinematic state – a condition of streams and networks that is the status quo of today’s digital culture. A state that not only affects aesthetics, but also changes the relationship between viewers, images, screens – and the very idea of subjectivity. It is here that the voice emerges in new forms. Here it plays an important role in our perception and understanding of the world and of ourselves. By examining various post-cinema phenomena such as ASMR or Networked Voices, as seen in recent experimental films by artists such as Ryan Trecartin and Lizzy Fitch, this essay will demonstrate how the voice in post-cinema creates a multiplicity of perspectives that play a key role for new technologies that constitute a subject very differently.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139144264","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andrew Bujalski’s film, Support the Girls, offers insight into the frayed social bonds shaped by neoliberalist ethos over the last forty years. These frayed bonds are indicative of the spatial-temporal suspension that have come to shape our lives under neoliberalism. Trapped in the precarious yet perpetual present, haunted by the stabilizing dreams of the past, we concurrently mourn for our lost futures. Despite feeling anchored within our ostensibly immovable present, we nonetheless remain affectively bound to the belief that, perhaps, things will change this time as we continue engaging with the very objects and systems perpetuating our malaise, alienation, and precarity. In this article, I argue that Support the Girls represents the temporal and spatial disjuncture characterizing post-modernism and the age of neoliberalism. Support the Girls reflects the impasse marred by affective relations of cruel optimism as conceptualized by theorist Lauren Berlant that marks our temporal present, while the characters continue occupying the non-places defining Mark Fisher’s notion of hauntology and the slow cancellation of the future. As illustrated in Support the Girls, this temporal and spatial dispossession defining late capitalism has stripped Lisa (played by Regina Hall), the general manager of a local Hootersesque restaurant and sports bar called Double Whammies, and the cabal of young women she manages, of any material relations of collective solidarity, replacing these collective bonds with empathy as a form of conflict resolution.
安德鲁·布贾斯基的电影《支持女孩们》深入剖析了过去四十年来新自由主义思潮塑造的支离破碎的社会纽带。这些磨损的纽带表明了在新自由主义下塑造我们生活的时空悬浮。被困在不稳定但永恒的现在，被过去稳定的梦想所困扰，我们同时哀悼我们失去的未来。尽管感觉自己被固定在表面上不可移动的当下，但我们仍然强烈地相信，也许，随着我们继续与那些使我们萎靡不振、疏离和不稳定的物体和系统接触，事情会发生变化。在这篇文章中，我认为支持女孩代表了后现代主义和新自由主义时代的时空脱节。《支持女孩》反映了被残酷乐观主义的情感关系所破坏的僵局，正如理论家劳伦·伯兰特所定义的那样，这标志着我们现在的时间，而角色继续占据着非地方，定义了马克·费舍尔的鬼魅学概念，以及未来的缓慢取消。正如《支持女孩》(Support the Girls)中所描述的那样，这种定义晚期资本主义的时空剥夺剥夺了当地一家名为Double Whammies的Hootersesque餐厅和运动酒吧的总经理丽莎(由雷吉娜·霍尔(Regina Hall)饰演)和她管理的一群年轻女性，剥夺了集体团结的任何物质关系，用同理心取代了这些集体纽带，作为一种解决冲突的形式。
{"title":"Haunting Lost Futures: The Crises of Space and Time under Neoliberalism in Support The Girls","authors":"Victoria Fleming","doi":"10.24140/ijfma.v8.n2.04","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.04","url":null,"abstract":"Andrew Bujalski’s film, Support the Girls, offers insight into the frayed social bonds shaped by neoliberalist ethos over the last forty years. These frayed bonds are indicative of the spatial-temporal suspension that have come to shape our lives under neoliberalism. Trapped in the precarious yet perpetual present, haunted by the stabilizing dreams of the past, we concurrently mourn for our lost futures. Despite feeling anchored within our ostensibly immovable present, we nonetheless remain affectively bound to the belief that, perhaps, things will change this time as we continue engaging with the very objects and systems perpetuating our malaise, alienation, and precarity. In this article, I argue that Support the Girls represents the temporal and spatial disjuncture characterizing post-modernism and the age of neoliberalism. Support the Girls reflects the impasse marred by affective relations of cruel optimism as conceptualized by theorist Lauren Berlant that marks our temporal present, while the characters continue occupying the non-places defining Mark Fisher’s notion of hauntology and the slow cancellation of the future. As illustrated in Support the Girls, this temporal and spatial dispossession defining late capitalism has stripped Lisa (played by Regina Hall), the general manager of a local Hootersesque restaurant and sports bar called Double Whammies, and the cabal of young women she manages, of any material relations of collective solidarity, replacing these collective bonds with empathy as a form of conflict resolution.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":"29 17","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873713","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-03DOI: 10.24140/ijfma.v8.n2.edit
Francesco Sticchi, Maria Elena Alampi, André Rui Graça
{"title":"IJFMA Vol. 8 No. 2 - Editorial","authors":"Francesco Sticchi, Maria Elena Alampi, André Rui Graça","doi":"10.24140/ijfma.v8.n2.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.edit","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":"29 18","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using the piece of video art “Rust, Mold, and Cracks”, created by the author, this paper addresses questions related to space, ruins, and different temporalities. Calling upon the authors Georg Simmel and Milton Santos, the text proposes an approach to ruins that goes further than dualist concepts such as abandoned/not abandoned, or modern/outdated. It also discusses the role of Nature in this scenario. In light of this situation, space and time are under mutable reorganisation, as pointed out by David Harvey. Different arrangements between them shall produce diverse modernities. Considering images as objects resulting from this spatiotemporal modification, this article comments on their accumulation.
{"title":"Rust, Mold, and Cracks: Post-Dualist Approaches on Spaces and Images","authors":"Lucas Rossi Gervilla","doi":"10.24140/ijfma.v8.n2.03","DOIUrl":"https://doi.org/10.24140/ijfma.v8.n2.03","url":null,"abstract":"Using the piece of video art “Rust, Mold, and Cracks”, created by the author, this paper addresses questions related to space, ruins, and different temporalities. Calling upon the authors Georg Simmel and Milton Santos, the text proposes an approach to ruins that goes further than dualist concepts such as abandoned/not abandoned, or modern/outdated. It also discusses the role of Nature in this scenario. In light of this situation, space and time are under mutable reorganisation, as pointed out by David Harvey. Different arrangements between them shall produce diverse modernities. Considering images as objects resulting from this spatiotemporal modification, this article comments on their accumulation.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":"29 14","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135873716","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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