Word: aural
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...bass-heavy Wall of Sound from her 1994 'Flyer' has crumbled; this is a live-in-the-studio set with a country feel and, among the sidemen, songwriter Sonny Curtis and the three survivors from Buddy Holly?s Crickets. "The team is relaxed and enthusiastic; it?s the aural equivalent of a good mood," notes TIME's Richard Corliss. "It?s not that people aren?t sad, don?t get kicked around, never die. It?s that music can evaporate blue moods even as it atomizes them." The nostalgic poignancy of Griffith?s 'Two for the Road' hints at chances...
...Literature and Arts B section of the core is intended to provide instruction in the elements of visual and aural literacy," she says, emphasizing that "listening is a significant part of that process in a music Core course as it is in departmental course in music...
From the first image--Renton jumps over the camera and hurtles down the street as store detectives chase after him, Iggy Pop's Lust for Life hammers the sound track, and Renton delivers his "Choose life" speech--the film is a nonstop visual and aural assault. Slo-mo, fast-mo, a hallucinogenic editing pace and the thick music of Scottish accents mean that you'll have to cram for Trainspotting. Attention must be paid, and will be rewarded with the scabrous savor of the movie's lightning intelligence. The subject is heroin, but the style is speed. This film...
After all this visual and aural input, the final installation of the series, "The Greeting," is a break-through exploration of the power of a single, wordless gesture. In this video, presented simply in an empty room on a conventional screen, two women are approached by a third who embraces one of the women and whispers something in her ear. A few seconds of film is stretched to twenty times its original length, and every subtle, lovely element of the total motion is exposed to attention our impatient eyes would typically be unable to observe. The piece is simple, monumental...
...Prospero's journey," as Daniels puts it, "is very much [about] what is both lost and gained in exile." The mystery and magic of the production's visual and aural effects create this feeling of exile. But for many people Prospero's renunciation of his magic represents Shakespeare giving up writing in this his final play. Paul Freeman evokes this idea in a powerful performance of Prospero's monologues: After recalling with both enthusiasm and nostalgia what his "so potent art" had once done, he says regretfully. "But this rough magic I here abjure...