Materialidade sonora nas artes visuais: entre existência e aparência

Abstract

his dissertation analyzes what is and how the sound materiality occurs in contemporary artistic practices from artworks and artists that use sound references as a raw material (plastic/conceptual) in their procedures and strategies. The research considers the possibilities of sound’s presence into the arts in its tactile and visual aspects. The investigation aims to show up how the sonorous element, used as shapeable resource in the field of visual arts, reveals its materiality in forms of art whose the image of sound can be attested by the observer. Several artworks were evaluated, from those don’t operate with the sound literally - or at least doesn’t working only through audition sense of hearing, but by means of tactiles and visual senses, that just suggesting the sound by an index sonorous’ concept - to those based on referential sound or the silence as materiality itself. Reinforced by distinct theories like the ideas about Matter and Memory by Henri Bergson; about the notion of Material Sound by Michel Chion and George Maciunas; about the simultaneous apprehension of a piece of art contained in Rosalind Krauss’s conception; alongside the Monika Wagner’s reflection on matter, as well the meaning of synecdoche to feel and interpret the materialization of sound in the artistic object. Such as outcome, an authorial artworks production was carried out along the course of this master, and a sound art exhibition was conceived, together of my master’s advisor, from the acceptions investigated in this research to consolidate and confirm the understanding of sound art as a medium which differs of another sound manifestation by your materiality.