Edited Volume – Published June 2020. ISBN 9780367271466


Bringing together a diverse array of international experts and practitioners, this book reflects the ideas, and approaches surrounding contemporary audiovisual practice. Engaging with both traditional and new media formats, each chapter explores a facet of audiovisual art. From Narrative Film to Visual Music, to Live VJ Performances and VR, to Immersive Audiovisual Installations and Theatre these interdisciplinary perspectives provide a rich insight into the current state of the art and its critical context.

This book seeks to, disseminate more widely the research presented at the SOUND/IMAGE conferences, which bring together creative practice with theoretical study. Chapters will outline contemporary research strands reflecting a synthesis of both practice and theoretical research within an international and interdisciplinary context. Delegates from previous events have come from across Europe and the US, and it is anticipated that the contributions for this volume will be just as diverse and engaging.


1. Connected Media, Connected Idioms: The Relationship Between Video and Electroacoustic Music From A Composers Perspective. – Diego Garro

2. Sound/Image Relations in Videomusic: A Typological Proposition. – Myriam Boucher & Jean Piché

3. The Question of Form in Visual Music. – Maura McDonnell

4. Audiovisual Spaces: Spatiality, Experience and Potentiality in Audiovisual Composition – Andrew Knight-Hill

5. Rhythm as The Intermediary of Audiovisual Fusions – Daniel Von Rüdiger

6. The Curious Case of The Plastic Hair-Comb: A Rhythm-Based Approach to A Parallel (Sound-Image-Touch) Theory of Aesthetic Practices. – Matthew Galea

7. The Spaces Between Gesture, Sound and Image – Mark Pedersen, Brigid Burke, Roger Alsop

8. The Gift of Sound and Vision: Visual Music as A Form of Glossolalic Speech – Philip Sanderson

9. Visual Music and Embodied Visceral Affect – Julie Watkins

10. The Function of Mickey-Mousing: A Re-Assessment – Emilio Audissino

11. Performing the Real: Audiovisual Documentary Performances and The Senses – Cornelia Lund

12. Blending Image and Music in Jim Jarmusch’s Cinema. – Celine Murillo

13. The New Analogue: Media Archaeology as Creative Practice in 21st Century Audiovisual Art – Joseph Hyde

14. Screen Grammar for Mobile Frame Media: The Audiovisual Language of Cinematic Virtual Reality, Case Studies and Analysis – Sam Gillies

15. Nature Morte – Jim Hobbs

16. Capturing Movement: A Videomusical Approach Sourced in The Natural Environment – Myriam Boucher

17. Constructing Visual Music Images with Electroacoustic Music Concepts – Maura McDonnell

18. Technique and Audiovisual Counterpoint in The Estuaries Series – Bret Battey

19. Exploring Expanded Audiovisual Formats (EAFs) – A Practitioner’s Perspective – Louise Harris

20. Making A Motion Score: A Graphical and Genealogical Inquiry into A Multi-Screen Cinegraphy – Leyokki

21. The Human Body as an Audiovisual Instrument – Claudia Robles-Angel

22. Sound – [Object] – Dance: A Holistic Approach to Interdisciplinary Composition – Jung In Jung

23. Son e(s)t Lumière: Expanding Notions of Composition, Transcription and Tangibility Through Creative Sonification Of Digital Images – Simon Cummings

24. Audiovisual Heterophony: A Musical Reading of Walter Ruttmann’s Film Lichtspiel Opus 3 (1924) – Tom Reid

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