Komposition in Blau (Composition in Blue), 1935, color, sound.
aka Lichtkonzert Nr. 1 (Light-Concert No. 1)

http://www.virose.pt/ml/alunos/media/036._Komposition_in_blau__Oskar_Fischinger__1935_.avi

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Allegretto, Early Verson (made at Paramount but not printed in color there [1936]); color, sound.

http://www.virose.pt/ml/alunos/media/065._Allegretto__Oskar_Fischinger__1936_.avi

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Ver também o seguinte texto, a título de introdução:

Mais informações sobre O. Fischinger:

http://www.oskarfischinger.org/

dia 13 de junho, às 10.30 h

PCR sala 402

Duração da prova: 120 minutos (+ 30 minutos de tolerância)

A prova não é de consulta.

Três questões de desenvolvimento versando directamente a matéria abordada, incluindo a análise de casos de estudo visionados em aula.

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Questão 1:  6 valores
Escolha entre uma de duas perguntas de desenvolvimento (cinema, vídeo, sound art, artes plásticas)

Questão 2:  6 valores
Análise e comentário a um caso de estudo a ser visionado durante a prova.

Questão 3:  8 valores
Redacção de um texto sobre o tema do trabalho individual de investigação.

arte sonora_sentidos multidisciplinares – José Alberto Pinto

Ver, por exemplo —

A lista de clichés do som no cinema:
http://www.filmsound.org/cliche/
Dogs always know who’s bad, and bark at them; All bicycles have bells (that sounds); Car tires must always squeal when the car turns, pulls away or stops; Thunder is always in sync with the lightning, and the explosion sounds are always in sync with the stuff blowing up, no matter how far away. Same for fireworks; People standing outside a running helicopter can always talk in normal or just slightly louder than normal voices; The tires of any jet screech upon landing; All kisses need to sound sloppy and wet.

Sobre o som diegético e não-diegético:
http://www.filmsound.org/terminology/diegetic.htm#diegetic

Terminologia, incluindo a de M. Chion:
http://www.filmsound.org/terminology.htm

http://www.ubu.com/film/burroughs_cut.html

The Cut-Ups
1966, UK, 18′ 45″, Black & White
Cinematography: Antony Balch
Screenplay: William S. Burroughs
Cast: William S. Burroughs, Brion Gysin

John Cage – Williams Mix 1952

Cage’s first composition for tape recorder already goes to the limits of the medium. Commenting on his score, Cage explains: “This is a score (192 pages) for making music on magnetic tape. Each page has two systems comprising eight lines each. These eight lines are eight tracks of tape and they are pictured full-size so that the score constitutes a pattern for the cutting of tape and its splicing. All recorded sounds are placed in six categories … Approximately 600 recordings are necessary to make a version of this piece. The composing means were chance operations dervied from the I-Ching.”

(Fonte: John Cage, Werkverzeichnis Edition Peters, New York 1962, p. 41.)

The only realization of this score to date was carried out by Cage himself. In spite of the assistance of Earl Brown and David Tudor, with editing and splicing the recorded tapes, completing this four-minute-long sound montage took approximately a year. Used for the premiere performance were 4 stereo tape recorders and 8 speakers.

Dieter Daniels

fonte: http://www.medienkunstnetz.de/works/williams-mix/

Tim Shore’s ‘Cabinet’ is a complex and multi-layered film which evokes humankind’s ambivalent relationship with history, memory and technology. The film uses the Unabomber’s Manifesto a

s its main subject, going beyond it by presenting to the viewer something simultaneously meditative and disturbing. Featuring several layers of images, sounds and texts, either original ones or chosen from archive material, this piece reminds the audience of the primary social constructions about America and its accompanying myths. It especially refers to the difficult and unsolved confrontation between the idea of its vast, pure and open spaces, and the highly complex and technological societies that have emerged from its exploration and occupation. In fact, Theodore Kaczynski’s wooden cabin which is being featured in ‘Cabinet’, is not so different, for instance, from President Abraham Lincoln’s log cabin. Both places are sort of backwoods, far away from big cities and from the influences of modern life; reminiscent of mythological and pure places from a bygone era. The precise use of sound, mainly appropriated from other sources, takes a primary role within the film. This happens in association with the presence of the contemplative and pictorial landscapes which come and go, as with the typewriter who haunts the film from the beginning, only to reappear close to the end in a moment when optic and acoustic data flows refuse to stop. Now, facing a black screen, a powerful sound somewhere between that of a typewriter and a machine gun resounds. Technology and its shadow take the lead in the blind construction of history.

http://flamin.filmlondon.org.uk/showcase/assets/showcase_items/cabinet

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The Unabomber Manifesto

http://en.wikisource.org/wiki/Industrial_Society_and_Its_Future