I International Conference on Sound, Silence and Image. ‘Documentary Sound’

Dates: July 23, 24 and 25, 2015

Place: TecnoCampus (Avenida Ernest Lluch, 32 08302) Mataró – Barcelona

Organizers: ESUPT (Audiovisual Media Department), TecnoCampus, Research Group SSIT (Sound, Silence, Image and Technology)



Sound in an audiovisual production is a crucial and inseparable part of the whole. For audiovisual sound, also called ‘Banda Sonora’ or Soundtrack, we understand and include all those expressive materials and acoustic perception codes that make up the audiovisual product –music or musical soundtrack, special effects, ambient sound, dialogues, relations between silence and sound, etc.– which, without exception, are objects of interest for this Congress.

In the age of digital code and virtual reality, scientific advances in the fields of information and communication have enabled new design, editing and sound recording techniques. Along with new formats and new communication channels, different forms of perception of the audiovisual product as a whole have appeared, while emerging sociological habits derived from the possibilities of current technology have been consolidated.

As we are immersed in a world of digital creation, simulation and technological mediation therefore it is pertinent to ask ourselves how sound in the audiovisual has changed nowadays, how soundtrack affects our perception of the product and how the new channels and habits affect this perception and interpretation of audiovisual products, with emphasis on sound perspective.

From this starting point, it is particularly interesting to know what remains from the sound of real world in audiovisual productions, how it subsists; what the role of sound documenting social and cultural reality is, and how it makes it; how sound is utilized to simulate reality or how it is linked with it, with what resources, among other issues.


The focus of the first edition of the congress Perspectiva Sonora therefore is “Documentary Sound”, relating sound to reality. Proposals around the following sub-themes are welcome, although these are not exclusive and other possible contributions will also be accepted:

1. Transformations in sound and music audiovisual construction throughout History.

2. Methods of analysis of sound in the formats of reality.

3. Analysis of audiovisual products, with emphasis on soundtrack.

4. New technologies and the experience of audiovisual reception: sociology and habits.

5. Documentary film, documented sound.

6. Music, audiovisual and reality.

7. New formats and new communicative audio experiences.

8. Acoustic metaphors and analysis of narrative expressions.

9. Digital convergence and sound: technological perspectives.

10. Theories on sound, music and audiovisual productions

11. Sound, music and persuasion.