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Themesicon: navigation pathSound and Imageicon: navigation pathAudiovisions

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prompted us to have a certain opinion about the overall experience. On the other hand, however, the individual sensory stimuli or the gestalt on which cognitive processing is based are incommensurable, i.e. incomparable in every way: There are as few colors and bodies in the sounding music as there is a major-minor relation or a melodic line in the visual design.

The most extensive integrative role in the audiovisual reception process is played by the temporal structure. Rhythm is a feature that can be perceived both in music as well as in the image. Whether as image allocation, movement of the figures, or as the editing rhythm of the film; whether as musical pulse or as melodic-rhythmic figure: Temporal structure can always be experienced physiologically or physically. Synchronicity of the auditory and visual levels is therefore an important means for creating an integrated experience. [10] This is why DJ/VJ works start at precisely this point. The extent to which rhythm is designed to correspond with image and sound is an individual artistic decision. Image and sound


can be brought together at junctions, or they can also be synchronized or counterpointed throughout.

Analogies between image and sound, however, are also based on parallel perceptive experiences in everyday life: For physical reasons, only large bodies are capable of radiating long-wave frequencies, which is why we associate great volume and power with low tones. In contrast, due to the acute auditory sensitivity of the human ear to high tones, they at best serve as warning signals. This leads to their being used in film e.g. to signal horror, which has the same effect across all cultures. [11]

References between visual and auditory structures can be created in two ways. One possibility is the use of structural or atmospheric analogies or relative synaesthesia: the dark image to which low tones are played; the glaring, mangled surfaces of color accompanied by screeching, high-pitched sounds; or the subdued staccato sequence of notes occurring with the movement of small graphic elements, etc. The other possibility is the narrative assignment of noises to visible objects, and vice versa.

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