Över en trestegsprocess brukar studien research through design för att utforska narrativ presenterade genom ett multimodalt medium bestående av komponenterna text och stream (ljud). En existerande applikation, Booktrack, har blivit undersökt under studien. Därefter utveckades tre prototyped för att identifiera och förstå hur narrativ design kan formas i förhållande till de två komponenterna. Studien har fokuserat på stream design och på uppfattningen av noveller och fiktiva texter som presenteras genom både text och ljud. Med sitt ursprung i sound studies identifierar studien fem generella och tre specifika stream design principer vid arbete av ljud i relation till text. Utöver dessa indikerar studien att en streams närvaro påverkar hur en läsare visualiserar narrativet. Vidare har studien utforskat narrativ design där båda komponenterna är beaktade. Därigenom markeras potentialen hos den multimodala presentationen att kunna expandera narrativet, genom medveten användningen av både text och stream. Den multimodala presentationen antyder dock att likheten med traditionella noveller och liknande ”tysta” texter både skapade intresse och oro. Sammanfattningsvis förstärkte närvaron av en stream inlevelsen samtidigt som det inhöll risken och förmågan att tvingat vägleda en läsares tolkning och föreställning av narrativet. I ett samtid där multimodala presentationer är tillgängliga genom diverse smart-devices, är det troligt att presentationer i likhet med de som undersökts i studien kan utgöra ett nästa steg i alldagliga presentationer. Ta nyhetsartiklar, annonsering, och informationsbrochyrer som ett par områden utanför noveller och fiktion där liknande multimodala presentationer kan komma att utvecklas och användas i samhället inom en snar framtid. / Through a three-part process employing research through design, this study has explored narratives being presented through a multimodal technical medium consisting of both textual and stream (sound) components. It has examined an existing application, Booktrack, and through developing three separate prototypes, has sought to identify and understand how one might approach a narrative when constructed using the aforementioned components. Specifically, it has explored the stream (sound) design and the perception of novels and fiction texts when presented through both text and sound. Taking on a perspective with its origin in sound studies, the study has identified five general and three specific stream design guidelines for working with sound in relation to text. Moreover, it has indicated that contextually appropriate streams’ presences alongside written text affect how a reader visualizes the narrative. Further, it has explored narrative design with both the textual and stream components in mind. Thereby, it posits a venue where the multimodality of the presentation might be used to expand the narrative presentation, using both the text and the stream as tools to further the narrative. However, it also identifies the similarities of the narrative presentation with the traditional novel and similar silent texts as being an indictment of concern. Namely, participants of the study expressed the stream’s intrusion and impact upon their immersion and visualization of written stories as both immersion enhancing and as forcibly guiding their imagination. In a society where multimodal presentations are available through phones, tablets, and other devices, it seems plausible a multimodal presentation, such as the one explored, might constitute the next step in everyday presentations. Take news articles, advertisements, and information brochures as a few tangible areas where this kind of presentation might be employed in the close future.

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Once a year over the week leading up to and including Labor Day, tens of thousands of people drive hours into Nevada’s barren Black Rock Desert to build an ephemeral city equal to “the size of downtown San Francisco.” This place, Black Rock City, home of the annual Burning Man event, only exists for a fraction of the year. For one week, participants gather together at Burning Man and operate under its ten guiding principles, including “radical self-reliance,” “communal effort,” “radical self-expression,” and “participation.” Everything, with the exception of porta-potties and ice, must be brought in and packed out by individuals. The decommodified, volunteer-run city is what its inhabitants make of it. At Burning Man, attendants are their own event planners, food providers, structure builders, gift givers, and activity coordinators. On the penultimate night of the event, an effigy of a forty-foot man is set aflame, a ritual left open for interpretation by participants. Two days later, the entirety of Black Rock City is torn down, leaving scarcely any trace that it ever even existed. Burning Man has gained social traction exponentially since its launch in 1986, leading to the formation of dozens of individually organized regional burns across the United States of America and internationally. Scholars from many disciplines have flocked to the event attempting to unpack its distinct subculture. While publications have analyzed Burning Man’s ethos, logistics, business organization, community, art, rituals, fire, and performances, only two have considered sound worthy of focus and few have addressed the regional burn network. “Aural Substance: An Ethnographic Exploration of Regional Burn Soundscapes” analyzes Burning Man’s regional network, expanding on sound artists Stephan Moore and Scott Smallwood’s brief initial study of the national event's sound by way of ethnography and field recording. From June 2016 through February 2017, I conducted fieldwork and collected fifty-five hours of field recordings at seven different regional burns. I employ ethnomusicologist Steven Feld’s concept of “acoustemology,” or “sound as a way of knowing.” Through my observation, analysis of recordings, and interviews, I consider how the sounds at regional burns can signify the time, date, and location to burn participants. Sound-studies scholar David Novak writes that “noise is a crucial element of communicational and cultural networks.” In this study, I analyze how noise at a burn is not solely a by-product of participants’ “anarchistic freedom,” but a key part of the burn that relays information about regional burn values, public and private spaces, and burners’ lived experience. / Music History / Accompanied by one compressed .zip file: Archive.zip

Cette thèse se présente comme une enquête : elle constate tout d’abord l’existence, sur les scènes contemporaines (XXe-XXIe siècles), de personnages de bonimenteurs et d’une référence récurrente à un art du bonimenteur. Que charrie cet imaginaire ? Comment s’est constituée cette figure fictive, qui s’ancre néanmoins dans une histoire concrète ? En quoi les particularités du dispositif oral du boniment ont-elles pu contribuer à la pérenniser ? Notre recherche s’est organisée selon une double enquête historique : sur ce qui a constitué, au XIXe siècle, l’art du boniment, et sur l’entrée du boniment dans la fiction, notamment grâce à une artification partielle datant elle aussi du XIXe siècle. L'examen de la transition entre une fonction théâtrale précisément située dans le temps et une fonction dramatique active sur les scènes et les écrans modernes met au jour les spécificités du bonimenteur, qui, du fait de sa position entre salle et scène et entre son et image, semble créer un geste théâtral particulier.Cette enquête nous conduit ainsi à voir dans le bonimenteur une figure qui interroge le rapport du théâtre à l’oralité et à son histoire. Qui pourrait incarner en somme une autre image du théâtre, reposant sur la force d’un oral performé. / This thesis was written as an investigation. It first focuses on the presence on contemporary stages (20th and 21st centuries) of characters commonly known as bonimenteurs and the recurrent reference to the art of boniment. What does this imaginary world convey? How was this fictional figure constructed and how is it rooted in a tangible history? And how have certain specific oral codes used in boniment contributed to its historical durability? Our research was developed around a dual historical investigation. It examines what constituted the art of boniment throughout the 19th century, while also considering the introduction of boniment into fiction, due in part to a partial shift into an art form also observed in the 19th century. The study of the transition between a theatrical function precisely defined in a historical timeline and an active dramatic function on stage and modern screens highlights the specificities of the bonimenteur. Thanks to his or her position between room and stage, sound and image, the bonimenteur seems to create a specific dramatic gesture.This work also leads us to consider the bonimenteur as a figure questioning theatre’s relationship with orality and its history, which may embody another representation of theater based on the power of orality as performance.

L’art sonore et la musique apparaissent plus régulièrement dans la programmation de musées d'art depuis le tournant du 21e siècle et provoquent des transformations majeures au sein des pratiques de l'exposition. Toutefois, aucun modèle expositionnel n'a permis jusqu'à maintenant de réinvestir le sujet à partir des enjeux spécifiques au sonore, de ses technologies et de ses possibilités d'écoute, qui sont souvent négligées, ni de réévaluer intrinsèquement les limites des modèles oculocentristes qui ont orienté les discours et les pratiques des institutions muséales. Cette thèse revisite l'exposition du musée d'art, soit l'ensemble des espaces discursif et physique qui interagissent avec le lieu, en démontrant l'épuisement d'une logique rappelant les codes du white cube et de la black box, en proposant le studio de son et le concert de musique comme nouveaux modèles d'exposition, issus des modèles de production et de diffusion de l'industrie de la musique. Pour ce faire, cette recherche défend le postulat selon lequel le développement du sonore dans l'exposition est tributaire des sons enregistrés produits grâce aux technologies de reproduction et de diffusion sonores ainsi que des pratiques – individuelles et collectives – d’écoute de la sphère quotidienne. L'étude s'appuie sur une série d'expositions dévoilant différentes déclinaisons de la relation entre le discours muséal et la mise en espace selon des points d'ancrage sonores spécifiques : l'exposition d'art sonore Soundings: A Contemporary Score (2013) au Museum of Modern Art ; Ragnar Kjartansson (2015) et Anri Sala (2011) au Musée d'art contemporain de Montréal ; la musique électronique de Sonic Process (2002) au Centre Pompidou ; et finalement, la musique populaire au sein de l'exposition David Bowie Is (2013) développée par le Victoria & Albert Museum. De là, cette thèse démontre, en s'appuyant sur les théories des sound studies et de la phénoménologie de l’écoute, la manière dont le son exposé renvoie à des enjeux qui lui sont propres, à des éléments de mixage qui favorisent des régimes d'écoute au musée d'art et qui reconstruisent la posture du visiteur par l'errance. Au-delà de la dimension sensorielle, le son dans le contexte du musée d'art déplace les modèles théoriques et disciplinaires de manière à abolir les hiérarchies et à reconfigurer l'idée du musée sous l'angle de la résonance. / Sound art and music have appeared in art museum programming with increasing regularity since the turn of the 21st Century and have caused major shifts in the exhibitory practices. However, no exhibition model has so far been able to properly account for the multifarious issues raised by sound in the museum space. There has been a failure to adequately address both the technological and audible opportunities of sound and, concomitantly, an inability to re-evaluate the intrinsic limits of oculocentric models that have guided the discourses and practices of museum institutions. This thesis revisits the exhibition practices of the art museum—the set of discursive and physical spaces that interact within these locations. It demonstrates the limits of a logic built on codes reminiscent of the white cube and the black box, proposing instead the idea of the sound studio and the music concert as new exhibition models, which are related to the production and distribution models of the music industry. To do so, this research initially argues that the development of sound in an exhibition context depends on the recorded sounds of reproduction and distribution technologies as well as the practices—individual and collective—of listening in everyday. The study is based on a series of exhibitions that reveal variations in the relation between the museum discourse mapped out above and the organization of the exhibition spaces according to sound-specific pieces: the exhibition of sound art Soundings: A Contemporary Score (2013) at the Museum of Modern Art; Ragnar Kjartansson (2015) and Anri Sala (2011) at the Museum of Contemporary Art in Montreal; the electronic music of Sonic Process (2002) at the Center Pompidou; and finally, popular music in the David Bowie Is exhibition (2013) developed by the Victoria & Albert Museum. From here, the thesis will demonstrate—based on the theories derived from both sound studies and listening phenomenology—the ways in which the sound within the exhibition space raises specific issues, how mixing encourages regimes of listening in the art museum and how the visitor's posture is transformed by the possibilities of wandering through the museum space. Beyond the sensory dimension, sound in the art museum context brings about a shift in theoretical and disciplinary models; abolishing hierarchies and reconfiguring how we understand the idea of the museum from the concept of resonance.

You Had to Have Been There challenges the role of fetishistic materiality throughout Film Studies using the history of New York underground film and video production from 1965 to 1985. It focuses on four situations of underground film and video production and exhibition: the relationship between Andy Warhol and the Velvet Underground's Exploding Plastic Inevitable and the Film-makers' Cinematheque, the screening of Michael Snow's Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen at Anthology Film Archives, the production of work by Ed Emshwiller, Nam June Paik, Steina and Woody Vasulka, Bill Viola, and other artists at WNET's Television Laboratory, and the exhibition of No Wave Cinema by Beth and Scott B, Lizzie Borden, Vivienne Dick, John Lurie, James Nares, and others at Max's Kansas City, the Mudd Club, and the New Cinema. This project uses the above exhibition sites to argue for the importance of liveness and presence in recording media, considering the affect of liveness not only on our definitions of cinema, but also on the relationship between cinema and historiography. While a canon of experimental film has emerged within Film Studies, determined by the alignment of experimental filmmakers and the academy, this dissertation carves out an alternate corpus of works screened in non-traditional environments. It finds an affinity between such spaces and the project of post-classical apparatus theory, both of which challenge the regimented space of traditional film spectatorship. The films and videos of this project are connected by two crucial elements: their location in New York City and their attention to sound. The personnel involved in the creation and reception of these films and videos constitute a network forum, or a group of artists who use the spaces of reception and production to reconfigure assumptions about film and video. Some of these spaces share direct links and touchstones, while others are tied together by shared concerns. One shared concern is a critical approach to the relationship between sound and image within cinema. Michael Snow and the filmmakers of the No Wave use pre-existing ideologies of sound to challenge cinematic presence and absorptive spectatorship while embracing the limits of subcultural spectatorship. The Exploding Plastic Inevitable and the Television Laboratory embrace sound's power as present, reorienting our perspective on the relationship between technology and the body. Taken together, these exhibition sites argue for the importance of sound and liveness in understanding experimental film history. They also suggest alternative modes of spectatorship that might hold productive power in our current media environment of hyper-reproduction and communicative capitalism.

La tesi si occupa di indagare il campo della popular music italiana durante il periodo del boom, così come della situazione cinematografica nazionale del periodo. In seguito si analizzano le forme di utilizzo della prima all'interno del secondo, soprattutto nei confronti di due oggetti che nel rapporto prendono corpo: 1 - Il musicarello, che si configura come vero e proprio genere e di cui si vedranno caratteri principali e genesi 2 - L'insieme di film che fanno della canzone un uso significativo, ma non per questo si costituiscono come genere, o come corpo coeso. In comune hanno però una particolare configurazione di stile, che si costituisce appunto attorno al loro uso della canzone, e che si confronta con la questione della presenza di un "film medio" nazionale. / In Italy, between the end of the Fifties and the first half of the Sixties, a phenomenon of deep economic growth changes the nation in many ways. In the same period the first generation of young people starts to be known as such. With it followed the consideration of consumption as an opportunity for an aggregate and generational claim, pushing film, record, magazine and clothing producers to think of objects conforming to this desire, or even making it stronger. Medial consumption is one of the key practices that permitted to express a social and individual identity. The Thesis try to find out how an important medium like popular music, match himself with cinema, and what kind of new linguistic solution, and social practice they build together.

Despite the apparent hegemony of vision in racial categorization, historically vocality has borne the brunt of as much racial presumption as physical appearance. This project explores ideas about Blackness, and how the voice in performance engenders conversations on racial authenticity within the United States. Broadly, the work examines how “sounding Black” functions within dramatic performance, and how wider concerns of racial identity adhere to a performer’s vocal choices. The contextualization of racialized sound presented in this project begins with an historical overview of how a “Blackness of tongue” has been framed in U.S. theatrical performance from the early 1800s through the 1960s. It then addresses the dynamics of voice and racial authenticity through two performance case studies: August Wilson’s The Piano Lesson and Adrienne Kennedy’s Funnyhouse of a Negro. These cases will be used to explore how issues of racial authenticity thrive in the space between vocal sound production and perception. As case studies based on specific productions of these two plays, text, directorial choices, and the vocal characteristics of the actors themselves occupy equal space at the center of each analysis. At a deeper level, this research seeks an understanding of the cultural assumptions that support the idea of a uniquely Black vocal sound, and what that sound purchases within American societies. In addressing both the phonological and the interpretive qualities of these performances, the central research concerns of this project attempt to pinpoint with more accuracy how voice, fore-grounded in performance, triggers different sets of assumptions that have been commonly identified as a significant component of Blackness / text