Archives

  • Devices in the Classroom. Practices with Smartphones and Tablets in Education
    No. 6 (2023)

    The use of mobile devices saturates our everyday lives. From the appearance of the mobile phone to current smartphones (not forgetting other types of devices such as tablets), their influence on our daily lives has increased exponentially. In the educational field, the use of mobile devices is extensive and can be observed in different areas and contexts. However, in the audiovisual field, their acceptance as a valid tool for creation or for processes inherent to the audiovisual field is still not fully appreciated. While studying, other models of cameras or professional software are valued, for example, ignoring the options that current smartphones offer in the professional and, more importantly, educational field.

    Starting from the idea that the industry has already integrated these devices into its processes, the articles included in this issue question whether the integration of these tools in the educational field is occurring and, if so, what strategies, practices, and uses are possible for their integration into educational curricula.

    Available on RACO: https://raco.cat/index.php/JoSSIT/issue/view/31898

  • Listen, create, connect. On sound in education.
    No. 5 (2022)

    Of all the senses, through which we interact with the environment, hearing is one of the least consciously explored in today's society, while visual culture prevails; so that most of the stimuli we receive is through the sense of sight. However, music education focuses on the importance of listening and sound education, as a basis not only for the teaching-learning processes in music pedagogy, but also; but in the communicative processes on which any educational and learning progress in society depends.

  • Which silence? Presence and meaning
    No. 4 (2021)

    Silence is a complex phenomenon. Its ambiguity - or polysemy, depending on how you look at it - and its strong dependence on the context that produces it, makes silence a communicative matter that is difficult to analyze, understand and explain. A concrete silence is never repeated, even if it is an audiovisual silence, planned and configured in a fixed audiovisual product, which can be reproduced several times: the silences are unique for each present moment. As linguist Michal Ephratt, a constant researcher of silence, states, silence is difficult to define, but easy to recognize. For all these obstacles and obstacles, added difficulties in their conception, the mentions of silence in scientific articles can be counted on the fingers of a hand, the academic literature on silence as an object of study is very scarce or, when there are, they are very specialized or very limited to an extremely limited field of knowledge or discipline (so much so that sometimes it is already considerably away from silence as a psychoacoustic phenomenon).

    In the last fifteen or twenty years it has been possible to observe a timid change of trend in the academy where, apart from more contributions and considerations on the phenomenon we are dealing with, there has also been more open-mindedness, the inclusion of more transversal perspectives and the approach of new fields of knowledge in which, obviously, the analysis and theorizing on silence can also have a place, from fields such as audiovisual, persuasion, psychology, to areas such as human resource management or pedagogy.

    In this line, if any idea can be extracted from this proposal for a monograph, it is transversality and diversity. The organization of this issue covers very different topics such as photography or everyday life during the pandemic, cinema and science, and indirectly shows how silence, as a cultural substrate of humankind, is everywhere, somehow as a ubiquitous phenomenon that only needs to be heard or addressed. Silence is within us. This is how the philosopher Michele Federico Sciacca put it: nothing of me is far from me in the moment of silence. And this need to listen to us and even to understand silence has been fostered, often unconsciously, in times of confinement and uncertainty and at the same time from various means and media, even not audiovisual ones.

  • 'Press start' Sound and Music in Videogames
    No. 3 (2020)

    Studies on audiovisuals have been consolidated over the last two decades, and it can be said that in that time, they have made their deserved space in the academic musicology. However, within audiovisual studios, videogames are still one of the least covered topics today, partly because of the challenges and methodological difficulties involved in its study.

    Therefore, we propose this third issue of the journal from the need to value and give recognition to the studies on music, sound and silence in video games. The title of this monograph, 'Press Start', in addition to the clear reference to the games waiting screen, it is intended to be a metaphor for what is expected of discipline in the country. For the first time in Spain we find a monographic publication that deals exclusively with the subject of music in video games, with academic rigor, and that will provide new perspectives for both the amateur reader and the researcher seeking deepen the subject.

  • New listenings, new narratives
    No. 2 (2019)

    The Number 2 of the Journal of Sound, Silence, Image and Technology (JoSSIT) focuses on new ways of listening and new narratives arising from technological mediation, both in terms of music use and reception as the new ways to approach his analysis from the academy. Starting from this perspective, the present collects offers a view from which the theory of sound and music in the audiovisual comes into contact with the emerging theories about sound discourse and pop production, while connecting the notions of listening technologically mediated with thesis and analytical models of ethnomusicology.

    To "Symphony of Noises: Revisiting Oskar Sala s' Geräuschmontage 'for Alfred Hitchcock's 'The Birds' (1963)", Julin Lee presents an interesting analysis around this unconventional soundtrack and makes use of a theoretical apparatus where sound studies and theories about the role of sound and cinematographic music are mixed with concepts about synthesizer organology and with the use of sonograms.

    Silvia Segura, on the other hand, presents us with a reflection on the nostalgia and pop sound of the eighties in an interesting article from which she gathers the most recent theories about the sound discourse of popular music and the tools of sound production. With the title "Nostalgia ON: Evocative Sounds of the 'Zeitgeist' of the Eighties", the author develops a theoretical framework that begins with the reflection on the sound composition of pop, going through considerations on technological mediation and finally placing itself in the construction environment of the 'retro sound'.

    "Jamming Giant Women: Narration through Song in Steven Universe" by Andrea Meseguer and Margarita Fernández de Sevilla, analyzes the different roles that songs play in the narrative development of Steven Universe, a cartoon television series created by Rebecca Sugar.

    Guylaine Gueraud-Pinet focuses on the integration of pre-existing music into non-fiction programs on French television. His article presents an informative and communicative approach and a crossed perspective between socioeconomic economics and semiotic to reflect on the relationships between music and television media.

    A "Musical traveling: Listening to music mediated by public transport" Marco Mariner proposes a fusion of perspectives between ethnomusicology and sound studies from which to address the issue of the symbolic generation of private spaces to public transport through listening devices individualized

    Finally, Ana Sedeño reflects on a media modality of recent consolidation in the network: the visual album, analyzing it as a resource that allows artists and bands to create open concepts and lax narratives, in what she defines as parafonographies, meta-narratives and storyworlds around which artists show us their artistic proposals.

    It is, therefore, a number with a certain multidisciplinary orientation that responds to an imperative need of our academic present: solidify ties between perspectives, approaches and methodologies that - from different fields - are absolutely complementary to these new approaches to the fact musical in the vast audiovisual landscape.

    We hope you enjoy it,

    The Editorial Team

  • Sound Transit
    No. 1 (2018)

    This issue aims at reflecting on the moments of transit within the audiovisual media world. It is in these key moments of transformation, in which what is new has not yet taken shape and what is old does not conform to social expectations any longer, that sound and visual languages are renewed and audiovisual experiences start to reveal new expression patterns. During transit (transitional moments), there are changes in the audiovisual media economy, in the technology and in its implementation, in the modes of representation and popular imagination, in the audiovisual production, in the acoustic perception and its reception, in narrative structures, and in the theorisation and aesthetics of the audiovisual phenomena.

     Every stage of transit reveals the necessity of an interdisciplinary perspective for the understanding of the scope of the transformation; while at the same time allows for the suggestive possibility of observing all these moments of change together in a constellation. The purpose of this conference is thus to collectively address the processes of transformation of the audiovisual language in different historical instances, with a special emphasis on the sound dimension.