Recherches sémiotiques最新文献

{"title":"Peut-il exister une logique de la notation musicale?","authors":"J. Chevalier","doi":"10.7202/1051396AR","DOIUrl":"https://doi.org/10.7202/1051396AR","url":null,"abstract":"Que fait-on lorsqu’on note un morceau de musique? Quelles sont les conditions de possibilité de la notation musicale? Que voit-on au juste sur une partition? Quelques éléments d’analyse de l’écriture de la musique sont proposés ici dans le sillage de la sémiotique peircienne. Une analogie entre notation musicale et notation logique révèle un réquisit d’iconicité des partitions. On peut distinguer trois niveaux d’iconicité de la musique correspondant à la trichotomie des hypoicônes : si les sons sont analogues à des images, la partition constitue une représentation en partie diagrammatique de rapports et d’intervalles, tandis que la signification musicale et l’interprétant émotionnel ont une nature métaphorique.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124414488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Music Shaped in Time: Musical Sense-Making Between Perceptual Immediacy and Symbolic Representation","authors":"M. Reybrouck","doi":"10.7202/1051398AR","DOIUrl":"https://doi.org/10.7202/1051398AR","url":null,"abstract":"What does music signify? And how do listeners make sense of music as a collection of sounding stimuli? A common way is to study the structure of the music, conceiving of music as a self-reflective system with elements that refer mainly to themselves. This is a position that deals with music in computational terms relying on symbols that can be manipulated at a virtual level of imagery, without any connection to the music as it sounds. Music, however, is also a temporal and sounding art. It can be described in acoustic terms, providing a totally objective rendition of the sonorous articulation through time. As such, there is a major distinction between “in time” and “outside of time” descriptions of the music, with the former relying on the first hand sounding stimuli and the latter on second-order symbolic replicas of the sounds.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132330765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reading into Soundscapes: Between Ma and Concretization","authors":"S. Jestrovic","doi":"10.7202/1051192AR","DOIUrl":"https://doi.org/10.7202/1051192AR","url":null,"abstract":"This essay explores the role of the listener/participant in the process of shaping sound works. I consider factors both internal to the works’ structures and inner dynamics, as well as external to them, and how they are determined by ever shifting parameters of context within which they are received. The analysis revolves around two very different artistic works : Takeshi Kosugi’s audio-visual installation Mano Dharma, electronic (1967), exhibited at the IKON Gallery in Birmingham in September 2015, and Between, an immersive performance piece that uses the audio-walk as its main strategy, created by Theatre Studies students at the University of Warwick in June 2015. My approach to these works relies on the assumption of a semiotic impulse which imposes itself as the urge to engage the process of meaning making, followed by the strategy I propose as ideally suited to the interpretation of these works, a process I call reading-into .\u0000 Reading-into is proposed variably as both a deliberate phenomenological strategy and a form of involuntary imposition of the semiotic impulse to ask the following questions : What are the possibilities and limits of the listener/participant’s reading-into ? How does reading-into relate to existing theoretical frameworks concerning aesthetic reception? What are the elements within and without the work itself that shape the process of reading-into ? How do unreadable elements of the work which resist semiotization shape our modes of engagement?","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"283 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133954358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Aux bords de l’audible : une étude des théâtres du son","authors":"Enrico Pitozzi","doi":"10.7202/1051186AR","DOIUrl":"https://doi.org/10.7202/1051186AR","url":null,"abstract":"En prenant pour appui l’oeuvre de dramaturges contemporains, cet article adopte une perspective phénoménologique pour analyser le rôle de l’imageacoustique dans les théâres du son d’aujourd’hui. Nous examinons entre autres comment, dans sa dimension “atmosphérique”, le son et la musique servent à représenter la température de la scène et comment ils sont utilisés pour réorienter les facultés perceptives du spectateur.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"34 14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123148562","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Linguistic Aspects of Sound Design for Theatre: A View from the Fringe","authors":"Rick Cousins","doi":"10.7202/1051191AR","DOIUrl":"https://doi.org/10.7202/1051191AR","url":null,"abstract":"Although sound design is a well-established part of the toolkit for creating theatre, its function in creating meaning for performance texts is often overlooked in discussions of the relative semiotic importance of various scenic arts. Many of the most cogent observations and theories concerning the use of sound as a parallel to spoken language in performed narrative come from scholars and practitioners whose specialty is not theatre, but radio drama. Using these theories, and the deeper analyses of linguistic structure proposed by Roman Jakobson as benchmarks, this is a preliminary survey of the resemblances between sound design and conventional forms of linguistic communication. The territory mapped is the world of small-venue touring fringe theatre, with a special focus on the roles that time and timing play in determining the semiotic content of designed sound in a performative setting.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126521557","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Phonemes as Modeling Devices","authors":"M. Danesi","doi":"10.7202/1051193AR","DOIUrl":"https://doi.org/10.7202/1051193AR","url":null,"abstract":"The study of how sounds in language are used to create words and other linguistic structures that are imitative of some sound property of their referents comes generally under the rubric of sound symbolism theory. While it has been dismissed by various approaches to language, the empirical and anecdotal support for sound symbolism is now too massive to ignore. From the database of evidence it now makes available, various hypotheses can be formulated about originating elements in word formation and, by extension, in seemingly diverse linguistic systems. One of these is the phoneme which bears suggestive meaning in itself as a primary originating element. It is thus a “modeling device” that leads, by extension, to the derivation of larger structures of meaning. Using an adapted version of modeling systems theory as developed by the Tartu School of semiotics, this paper argues that the phoneme is in fact more than a cue for distinguishing words – rather it is an elemental modeling device. This view potentially has some basic implications not only for sound symbolism theory, but also for the study of semiosis itself.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130488457","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Se mettre à l’écoute de l’écoute. Éthique et esthétique d’une pratique du sonore dans la création de l’oeuvre théâtrale Nous voilà rendus de la compagnie L’eau du bain","authors":"Anne-Marie Ouellet","doi":"10.7202/1051189AR","DOIUrl":"https://doi.org/10.7202/1051189AR","url":null,"abstract":"Cet article expose les visées éthiques et poétiques d’une pratique du sonore à l’intérieur du processus de création de l’oeuvre Nous voilà rendus de la compagnie de théâtre et de performance sonore L’eau du bain. Pour ce projet, nous allons à la rencontre de personnes âgées et créons avec eux, l’événement théâtral par le biais d’un dispositif d’écoute. Si écrire c’est rompre le lien comme l’écrit Blanchot (1955), écouter pourrait être s’écarter. “Une promiscuité dans l’écoute met en relief les gouffres qui nous séparent”, écrit Michaël Lachance (2015). Dans cet article, je me propose donc d’exposer notre quête d’une scène théâtrale où l’écoute de l’écoute vient questionner et triturer le rapport entre monde extérieur et monde intérieur.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121129691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Towards a Poetics of Affect: Staging Sound in Wajdi Mouawad's Theatre of Compassion 1","authors":"Yana Meerzon","doi":"10.7202/1051185AR","DOIUrl":"https://doi.org/10.7202/1051185AR","url":null,"abstract":"Erin Hurley and Sara Warner in their insightful study “Affect/Performance/Politics” (2012) remind us that the humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect or thrill experience as a leading mechanism of our cognition and communication, as well as the making and reception of art works. Today, “the affective turn signals [our] renewed interest in embodiment and sensorial experience” (2012 : 99), allowing scholars to examine a theatrical performance as a venue to reinforce the subjectivity of the artist and that of the receiver. A theory of affect strives to describe the mechanisms of reception in theatre as our psycho-physical experience, regardless of our linguistic, cultural, social, or ethnic background, and thus aspires to bring the question of universals back to the rehearsal hall and the theatre auditorium. This article takes such a theoretical framework further to argue that in today’s theatre it is the multiple soundscapes of performance–actors’ voices, music, artificially produced and live sound, the architecture of performance aurality–that has the most potential for instigating the audiences’ visceral experience. Hans Thies Lehmann (2006) in his influential book on post-dramatic theatre aesthetics names this phenomenon aschora, the sonoric space of the performance, which possesses the great power to deconstruct the semantic meanings of words, turning them into mechanisms of performative psycho-physical affect as xperienced by the audience (ibid. : 145). In order to illustrate how words (as poetry) and sounds (as singing and music) generate affect in today’s performances, an example of Lehmann’schora-graphy(2006 : 146), I examine Wajdi Mouawad’stheatre of compassion(Naugrette 2008 : 88), emphasizing his dramaturgy, directorial choices (mise-en-scene), use of sound, and work with actors, as an artistic project called to shock and shake audiences emotionally. In the first section of my study I outline the major principles of the theory of affect; in the second, I discuss Mouawad’s approach to staging a canonical dramatic text and investigate how sound serves as the leading compositional element of affect in his 2011 productionDes Femmes, an adaptation of Sophocles’ three tragediesLes Trachiniennes,AntigoneandÉlectre.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"131 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123717616","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Juggler on the Moon: How Sounds Think in Tom Stoppard's Darkside","authors":"N. Verma","doi":"10.7202/1051184AR","DOIUrl":"https://doi.org/10.7202/1051184AR","url":null,"abstract":"This essay explores Tom Stoppard’s 2013 radio playDarkside, which incorporates elements of Pink Floyd’s 1973 albumTheDark Side of the Moon, and dramatizes a series of thought experiments. I show how the combination of these three forms necessitates a rethinking of how sounds operate in radio drama, chart the play’s habits of diversion and evasion, and discuss how these tendencies are brought to bear on the central theme of climate change. At the heart of this essay is a proposal that the idea of the “sound of thought” embodied inDarksidemay prompt a new approach to the theory of radio, one that begins not with what sounds mean, but with how sounds “think”.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117067920","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Dispositif cartographique du son pour une scène sans bord","authors":"Jean-Paul Quéinnec","doi":"10.7202/1051188AR","DOIUrl":"https://doi.org/10.7202/1051188AR","url":null,"abstract":"La visée ‘spatiale’ qui s’empare à la fois des allègements technologiques et des changements culturels de notre société, s’associe à la conception sonore. Les innovations en termes de dispositifs invitent les chercheurs créateurs de la scène à franchir de nouvelles frontières, et à délocaliser les lieux traditionnels de représentation vers des sites réels et virtuels à habiter.\u0000 Nicole Gingras remarque qu’un son qui habite l’espace est un son qui s’éprouve à l’égal du lieu où il se produit (2014), privilégiant une écriture scénique qui fait résonner les aspérités physiques et mémorielles de l’espace. Le dispositif théâtral s’attache alors au contexte sonore pour élargir l’écoute à des aspects apparemment extérieurs au champ dramatique de la pièce (Lelong 2007). Ce que confirme J. Sterne (2012) quand il écrit “the one who hears remains at the center of the audio environment” . Le lieu non plus seulement considéré comme le ‘cadre’ de présentation mais aussi comme une instance capable de générer l’oeuvre elle-même, prend sa ‘place’, grâce aux découvertes dans le domaine de l’acoustique. Mais ce tournant spatial du son correspond aussi à une émancipation de l’espace réel pour s’évader vers des extensions virtuelles d’expériences topographiques.\u0000 Une géoesthétique (Quiros & Imhoff 2014) qui pourrait entraîner le dispositif théâtral et sonore vers une investigation cartographique “ouverte, connectable dans toutes ses dimensions, démontable, renversable, susceptible de recevoir constamment des modifications” (Deleuze & Guattari, 1980). Inspirée du processus comme de la lecture d’une trajectoire cartographique, la dramaturgie sonore représente alors véritablement un enjeu pour faire de la scène une plate-forme variable d’interactions, remplissant plus que jamais, sa fonction sociale et culturelle de média (Larrue 2014).\u0000 Ainsi dans cet article, il s’agira d’une part, de mieux comprendre ce processus d’auralité qu’une délocalisation de la scène entraîne (notamment à travers l’approche du field recording qui se confronte à l’imprévisible et à l’incontrôlable) et d’autre part, de rendre compte d’une diffusion scénique et étendue (sur un plateau et par internet) à la fois performative, multimédia et intermédiale. Pour illustrer nos propos, nous nous appuierons sur deux recherches créations menées par la Chaire de recherche du Canada “Dramaturgie sonore au théâtre” : Liaisons sonores Brest/Mashteuiatsh (performance radiophonique) et Cartographies de l’attente. Projets qui déploient, de leur fabrication à leur présentation, des écritures cartographiques qui ne résultent pas exclusivement des intentions de son auteur comme de la limite physique de la scène, mais dépendent aussi des stations d’écoute aléatoires et mouvantes de chaque spectateur.","PeriodicalId":350210,"journal":{"name":"Recherches sémiotiques","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115514843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}