The artists who created the conventions of comic strip graphics invented a way of visualizing noise that no predecessors had attempted. Since Popeye first landed his fist to a resounding Splat! or Batman and Captain America laid about them to accompanying sound effects, visualized noises
have become a defining feature of this storytelling medium. This article explores the noises that material things make. In this article, Marina Warner offers insights on how sounds play a crucial part in defining the unique quality of objects, with reference to comics, Schwitters, Beckett,
Dante and Tacita Dean.
The Soundtrack is a multi-disciplinary journal which brings together research in the area of music and sound in relation to film and other moving image media. A complex cultural, technological, industrial and artistic phenomenon, sound-with-moving image is a rich area for analysis, investigation and speculation. We encourage writing that is accessible to audiences from a diversity of intellectual backgrounds and disciplines as well as providing a forum for practitioners. The Soundtrack's aim is to nurture this new and expanding area of academic investigation in dialogue with soundtrack producers of all kinds.