Types of temporal coherence in video-dance postproduction

Autores UPV
Año
CONGRESO Types of temporal coherence in video-dance postproduction

Abstract

In the theory of audio-visual perception, one can set various types of congruence between sound/music and image, which can be categorized into the overall qualitative congruence and formal coherence (Payri & Prosper Ribes, 2011; Iwamiya , 2009) The qualitative congruence encompasses both semantic con- gruence (Nieto 1996), which refers to the meanings and codes ema- nating from the music and image, such as codes of period, genre, location, ethnicity; and psychological congruence and empathy/ anempathy between music and image (see Payri, 2015 b for a gen- eral discussion of these concepts). In dance, we can also include, within the psychological congruence, the congruence of energy in addition to the affective congruence (Eerola & Vuoskoski, 2012), since energy largely determines the quality of movement and body position. Formal congruence has to do with the development in time of music and image, and it can be subdivided into the structural con- gruence, which focuses on the parts and repetitions of the struc- ture of music and if they match the dance or image (Martínez and Epele, 2012; Meschini, 2013; Meschini and Payri, 2013), the tem- poral synchronization between audio and visual events, such as accents, or sound impulses and movements featured in the image (Iwamiya 2009; Lipscomb 1996; Camurri, Lagerlöf & Volpe, 2003), changes in level, etc. We can also add, halfway between qualitative and formal con- gruence, the congruence of tempo, which is crucial in the dance, as the underlying tempo of the music usually requires a certain tempo in dance and video-dance, more markedly than in music applied to cinema or theater. In this article, we address the question of congruence through the poietic analysis of two pieces of the Visions of Santa Teresa: a re ection on video-dance emerging from a previous musical creation on the visions of St. Teresa of Avila. The visions of The Devil (El Demonio) and the Rapture (Arrobamiento) are chosen. It is an approach with a musical mind in the sense that the dance to is generated on the music, and no the music on the dance, treating the elements of dance as a material for a musical montage. The different elements of the recording and production of video-dance are addressed, but the focus is on temporary congruence that is created in the image postproduction.