Film Noise Aesthetics
Gawthrop, Rob (2006) Film Noise Aesthetics. In: Experimental Film and Video: An Anthology. John Libbey & Co. Ltd, Luton, UK, pp. 53-60. ISBN 0861966643Full text not available from this repository.
Abstract / Summary
‘Film Noise Aesthetics’ addresses the use of noise in experimental film, the aesthetics of sound and its relationship with experimental music and contemporary art. This was the final outcome from research during 2001 AHRB-funded research leave, and was developed from published work, ‘Phonic Art: Future of Music Is Not Music’ (Lovebytes Festival catalogue, March 2001) and ‘ONE’ (in ‘Diffusion’, ed Giles Lane & Catherine Williams, pub. Proboscis/Diffusion, 2000, ISBN 1 901 540 11).
Presentations based on research for the writing of all three included: ‘Noise Listening & Signification’ (at ‘NoiseTheoryNoise #2’, University of Middlesex, Dept of Modern European Philosophy, 2004); ‘Film Noise Aesthetics’ (for ‘The Colour Out of Space’ symposium, Brighton Cinemateque, 2004); and ‘Time Sound Aesthetics’ (for ‘Access Sound File - Kill Your Timid Notions’ conference, Dundee Contemporary Art/Research Centre for Visual Art, University of Dundee, 2006).
|Item Type:||Book Chapter|
|Additional Information:||The research also resulted in Gawthrop’s curation of a film programme, ‘Feedback: Visual Howl & Reflexive Music’ (Hull Screen/Hull Film 2007), and in practice-based outcomes including individually authored films and a work, ‘Label’ by Automated Noise Ensemble (ie with Bob Levene). Individually authored works have included: ‘Cinematic Events/Film Noise’ (2004-in progress), performed at launch of ‘No.W.here Lab’ London and & ‘Experiments in the Moving Image’, University of Westminster (Lumière, Regents Street); the earlier work, ‘The Miller & The Sweep’ (with Joanna Millett), screened as part of ‘Eyes Lies Illusions’ (Curzon Cinema, in association with Hayward Gallery 2005) and in ‘A Century of Artists Film & Video’ (Tate Britain 2004), prompted Gawthrop’s reappraisal of experimental films in the 1970s and their relationships to recent developments in contemporary music and sound art in regard to their use of noise, phenomenology and the process of their aestheticisation.|
|Depositing User:||Rob Gawthrop|
|Date Deposited:||07 Aug 2014 10:15|
|Last Modified:||07 Aug 2014 10:15|
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