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O som na ativação da obra
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Now at the present time, when different areas of knowledge seem to be colliding in the most diverse fields – social, political and, especially, cultural – space is simultaneously opening up for an amalgamation of hypothesis that can be seen in the multidisciplinarity and intertextuality of creations. With this in mind, my aim with this dissertation is to understand and analyze the synesthetic phenomenon in the artistic experience, as it provides a relationship between the senses and generates a more complete, holistic memory of reality. Of all the senses, and in a more subjective way, I consider hearing to be the most relevant, being the one that allows direct or indirect communication, playing a role of physical and even visceral reverberation in the human being. The sound incorporated into a musical composition implies an attunement that may or may not be pleasant, however, there are countless sounds that resonate and reverberate every day, having a real impact. While in a musical composition there is an underlying conditioning to the sounds, in order to create a mostly pleasant harmony, in the course of the day the human being is exposed to a dissonant harmony of the space that surrounds us with sounds full of animal, human and industrial movements and actions, among others. Examples include the honking of a boat's horn, the jingling of keys, the ringing of church bells, the chirping of birds, etc. All sounds are suggestive of warnings or indications and serve as a fundamental means of individual and/or collective communication, generating a constant melody that is therefore almost unnoticeable when tuned in; however, they are completely connected
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Som Sinestesia Reverberação Dissonância Pintura Instalação (Arte) Silêncio Experiência Vazio Nancy, Jean-Luc, 1940-