Discourses of music, sound, and film: a meeting of disciplines


Entre os dias 14 e 17 de fevereiro de 2010, ocorrerá, na Universidade do Texas em Austin (EUA), o simpósio Discourses of music, sound, and film: a meeting of the disciplines, organizado por David Neumeyer e Mark J. Butler. Além dos 25 palestrantes convidados, entre os quais este que escreve, o simpósio contará com 4 conferencistas (keynote speakers): Georgina Born – Professor of Sociology, Anthropology and Music e Fellow and Director of Studies in Social and Political Sciences, no Emmanuel College, Cambridge (UK), autora de Uncertain Vision: Birt, Dyke and the Reinvention of the BBC (Secker & Warburg, 2004), entre outros -; Michel Chion – compositor e pesquisador da relação entre som e imagem no cinema, foi assistente de Pierre Schaeffer na ORTF e membro da GRM nos anos 1970, é professor associado à Université de Paris e é autor de diversos livros, dentre os quais La voix au cinéma (Cahiers du Cinema Livres, 1984) -; Marcia J. Citron – Associate Professor of Musicology na Rice University (EUA) e autora de Gender and the Musical Canon (Univ. of Illinois Press, 2000), entre outros -; e Jonathan Sterne – Associate Professor no Department of Art History & Communication Studies da McGill University (Canada) e autor de The Audible Past: Cultural Origins of Sound Reproduction (Duke Univ. Press, 2003), entre outros.

Minha apresentação, na qual estou atualmente trabalhando, tratará de aspectos de minha pesquisa de Pós-Doutorado. O abstract de minha apresentação segue abaixo:

Applied Rhythm Technology in Electronic Dance Music: the sound-movement nexus . How does electronic dance music (EDM) work? As an instance of what Kodwo Eshun wisely named “Applied Rhythm Technology”, a working piece of EDM usually shows four characteristics: (1) it is mostly made up of pre-recorded sounds; (2) it usually has a constant metronomic tempo; (3) it must be electrically amplified; and (4) it must make people dance. Alone, none of these characteristics is exclusive to EDM. But taken together, they may be considered the condition of possibility for EDM. If “what I hear [and dance to] is thinking too” (as in Murphy and Smith’s 2001 article in Echo), it may be said that EDM has an immanent theory, that is, a theory that is not projected on EDM, but from it. One way of expressing this theory would be in terms of a “sound-movement nexus”: an historically found and developed affinity between machine sounds and human movements.

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