El sonido como dispositivo de adensamiento de la imagen

Videographic contemporary artists practices have reached adult age. It is an indisputable fact. And that’s why some procedures and ideological positions lose their sense and result in new ones more adapted to that new condition. We already know that the progressive presence of video in the universe of artistic practices has been possible thanks to the increasing interest in the experimentation with time Arts: image and sound. However we cannot avoid the importance of technological development, digital one overall, in the process followed to the present situation. We can defend the authorial project primacy over the technical development. It was that technical development that made possible the sound visualization on timelines, the same as in images. That is an important step because, open democratization of technological miniaturization allowed artists to go further than their own professional studios. All these new elements, that are present nowadays in sound experimentation, have become essential in artists practices. Most of all in the sense of giving thickness to those images that lack of it by themselves. In that sense, it can be said without doubt, that sound in contemporary videographic practices is faced as an element that deserves the same dignity as image, and there are cases where sound can be even the crucial component for a good work reception. A work that, as a whole, involves all the premises that enable it to resist the performance and the ease. The natural sound of images plays her a decisive role. Even if it were only to thicken a dissension relation, that nowadays it’s not only necessary but that stands by as a kind of emergency.

Year 2013
Type Journal Article with peer review
Publication Azafea, Revista de Filosofía , 15
Pages 201-209
ISBN / ISSN 0213-3563
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