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Sound Art (?) on/in Film

The research underpinning this article arose during the creation of original music and sound design for the documentary REVERON [http://vimeo.com/62310275] (2008, Producciones Triana, Proyecto Armando Reverón. Ministerio de la Cultura, Caracas-Venezuela.) As work on the documentary progressed, I realized that rather than merely creating a film score, I was creating a soundscape entwined with the image in a way reminiscent of diegetic sound-atmospheres. This work lies between incidental music and diegetic music, in a limbo of sorts. Work on the documentary gave me an insight into sound design conceived as an artistic practice, that I wanted to explore more thoroughly in the film repertoire. In particular, as a practitioner I responded to my observations on Kagel’s ‘Antithese’ (1965) and Takemitsu’s work for ‘Kwaidan’, (also of 1965). Further, after having written the article, I applied these ideas to a larger extent in the compilation and remix of my electroacoustic compositions for the soundtrack of the 2012 documentary on Venezuelan architect Carlos Raúl Villanueva titled ‘Villanueva: El Diablo’ [http://vimeo.com/75294932] directed by Juan Andrés Bello (Canada/Venezuela) and produced by Producciones Triana with funds from the Venezuelan Centro Nacional de Cine (CENAC). I believe this work is significant in that it creatively interrogates the new emerging sound design practice as discussed in my article. The pre-print article was also presented as a paper at Universidad Simón Bolívar, Caracas, Venezuela in May 2008 invited by Prof. Adina Izarra from the Music Department, and later in 2010 in Mexico as ‘El arte sonoro en el cine’ (sound art on film) in November of 2010 at the Centro Mexicano para la Música y las Artes Sonoras in Morelia, México, as part of the Visiones Sonoras 2010 International Festival.