This article proposes a narrative theory thought in terms that are specific to sound practice. It addresses two different fields – Acousmatic Music and Foley Art – as a possibility of understanding sound narration and conceptualising it around the idea of fiction. To this end, it begins from the concepts of sound-motif, sound-prop and sound-actors, in order to propose a dramaturgic practice specific to sound terms.The theory of sound dramaturgy acquires a practical outline by making use of multichannel constellations as a composition strategy, with specific loudspeaker arrangements. The theory advocates loudspeakers as the mediators of the experience and the stage as part of the audience’s assembly. This translates into a practice of staging sound fiction, which focuses on formulating a conjecture based on formal and factual structures, allowing for a direct relationship between the listener and the listening, between the sounds and their fictional location.

No abstract

The article focuses on the political implications of field recording (FR) in relation to sound ecology, education, art, and technology. On the one hand, it discusses how FR can protect us as a social tool in a paradoxical relationship between FR as an artistic practice and social networks that motivate alienation. On the other hand, it addresses the difference between what we perceive as sonic properties used for aesthetic purposes and what neural networks compute to create their internal structures in the process of artificial intelligence. This article adopts a preliminary approach to the above-mentioned topics while it seeks to raise questions and awareness. Drawing upon such theorists as Voegelin, Steingo and Sykes, LaBelle, and Agostinho, it adopts a pragmatic perspective on everyday life and its political implications.

Audio-Vision, Sound on Screen was fi rst published in French in 1990 and translated to English in 1994. For being one of the fi rst attempts to address sound in fi lm beyond the technological perspective, the book became widely referenced among scholars and practitioners. Twenty-fi ve years later, it has been republished by Columbia University Press.Th e author Michel Chion (1947), a French fi lm critic and composer, began his career as an assistant to Pierre Schaeff er in 1970, at the Groupe de Recherches Musicales (GRM). 1) Th is led him to collaborate with the French journal Cahiers du cinéma between 1982-87 which, together with the arrival of videotape, triggered a book trilogy about sound in fi lm: La voix au cinéma (1982; Th e Voice in Cinema in 1999) 2) in which he analyzes the hierarchy of voice in the soundtrack ("vococentrism" -p. 6); Le son au cinema (1985; Film, a Sound Art in 2003), 3) where he continues to access the language in fi lmsound; and La toile trouée. La parole au cinéma (1988), 4) in which he accesses the development of sound-fi lm through its dialogues. 5) Audio-Vision: Sound on Screen is a compilation of this trilogy. It describes the relationship between sound and image and establishes the core terminology of sound for fi lm, which has been frequently cited since then. At the time, there was no antecedent, which is partly due to a general diffi culty in speaking objectively about sound. Th us, as formulated in the foreword by Walter Murch, the terminology very oft en recurs to ordinary language and therefore is self-explanatory. For example, "points of synchronization" (p. 36), which are the moments in which image and sound meet in time; or "extension" (p. 84), which is sound's capacity to extend the perception of the space outside the visual frame.Very oft en, Chion extends his explanations to other subjects, grasping diff erent fi elds without going beyond the surface. For example, when he attempts to analyze a certain psychology of hearing in fi lm, by discussing "infl uences of sound on perceptions of movement and speed" (p. 11), or "on perception of time in the image" (p. 12). Or, when he states that "textual speech has been considerably dis-

ARTICLES 47"Akerman cleanses her narrative of anecdote and of psychological overtones. Th e performance also has a presentational quality that dispels dramatic development. " Ivone Margulies 1)At fi rst listen, the sound of Chantal Akerman's fi rst short fi lm, Saute ma ville (1968), is baffl ing. For many reasons: it is asynchronous, exaggerated, absent, surreal, detached. It seems lo-fi , raw, and amateurish. In fact, it refl ects the technical obstacles of its time: recording sound in movement was diffi cult in practice, with most productions being (insuffi ciently) completed with ADR. 2) In some parts, the sound is not synchronized with the image, seeming to enhance the nonsensicality of the protagonist's individual tasks. Th e action is sometimes exaggerated and absurd. Its intentions, ideas, meanings and strategies unfold themselves more and more upon a closer look/listen. In her fi rst exercise, Akerman's general attitude is already shaped: the simplicity, the intentional naivety that distracts the audience for what is to come, the feeling of verité, as much as the feeling that "nothing happens". 3) Akerman made use of sound as a direct tool for storytelling. All sounds refl ect the story in their own way but equally take the same direction of discomfort and restlessness Sara Pinheiro (FAMU)The Sound of Saute ma ville Saute ma ville 1) Ivone Margulies, Nothing Happens: Chantal Akerman's Hyperrealist Everyday (Durham and London: Duke University Press, 1996), p. 2. 2) ADR stands for ' Automated Dialogue Replacement' . In some iconic movies from this period, the technique was underdeveloped, less accurate than nowadays. For example, see the bridge scene in Truffaut's Jules et Jim (1962) versus any contemporary mainstream film. 3) When confronted with the idea that Saute ma ville is a young version of Jeanne Dielman, Akerman replied roughly that [her character] did not want to become a Jeanne Dielman herself (at a public talk at Bezalel Academy of Art and Design, Jerusalem; see , [accessed 7 December 2018].