The first edition of Sound Art Revisited (published as Sound Art: Beyond Music, Between Categories) served as a groundbreaking work toward defining this emerging field, and this fully updated volume significantly expands the story to ...
Author: Alan Licht
Publisher: Bloomsbury Publishing USA
The first edition of Sound Art Revisited (published as Sound Art: Beyond Music, Between Categories) served as a groundbreaking work toward defining this emerging field, and this fully updated volume significantly expands the story to include current research since the book's initial release. Viewed through a lens of music and art histories rather than philosophical theory, it covers dozens of artists and works not found in any other book on the subject. Locating sound art's roots across the centuries from spatialized church music to the technological developments of radio, sound recording, and the telephone, the book traces the evolution of sound installations and sound sculpture, the rise of sound art exhibitions and galleries, and finally looks at the critical cross-pollination that marks some of the most important and challenging art with and about sound being produced today.
Rodgers, T. (2012) How Art and Research Inform One Another; or, Choose Your
Own Adventure, in Canadian Journal of Communication, special issue: Media
Arts Revisited. Kim Sawchuk, ed. 37/1, 155-61. Schacher, J. C. (2010) Motion To
Author: John Dack
Publisher: Cambridge Scholars Publishing
This volume explores the mutually beneficial, but occasionally uneasy, relationship between sound art and music. It reveals how practices and theories associated with these art forms frequently result in corroboration, and contains chapters from both practitioners and theoreticians who work in areas where innovative synergies between sound art and music can be identified. Although practice and theory are inseparable, discourses surrounding practice are elusive but informative, and, as such, are given particular recognition and exploration in this volume. Taken as a whole, the book provides a snapshot of contemporary research across a range of sound art and music disciplines, showcasing the variety, scope and scale of this exciting, if bewildering, area of study.
Sound Art Revisited. New York: Bloomsbury Academic, Bloomsbury Publishing
Inc. Lippard, Lucy R. 1997. Six Years: The Dematerialization of the Art Object
from 1966 to 1972. Berkeley: University of California Press. Lucier, Alvin, ed.
Author: Jing Wang
Publisher: Bloomsbury Publishing USA
From the late 1990s until today, China's sound practice has been developing in an increasingly globalized socio-political-aesthetic milieu, receiving attentions and investments from the art world, music industry and cultural institutes, with nevertheless, its unique acoustic philosophy remaining silent. This book traces the history of sound practice from contemporary Chinese visual art back in the 1980s, to electronic music, which was introduced as a target of critique in the 1950s, to electronic instrument building fever in the late 1970s and early 1980s, and to the origins of both academic and nonacademic electronic and experimental music activities. This expansive tracing of sound in the arts resonates with another goal of this book, to understand sound and its artistic practice through notions informed by Chinese qi-cosmology and qi-philosophy, including notions of resonance, shanshui (mountains-waters), huanghu (elusiveness and evasiveness), and distributed monumentality and anti-monumentality. By turning back to deep history to learn about the meaning and function of sound and listening in ancient China, the book offers a refreshing understanding of the British sinologist Joseph Needham's statement that “Chinese acoustics is acoustics of qi.” and expands existing conceptualization of sound art and contemporary music at large.
5 Alan Licht, Sound Art Revisited (London: Bloomsbury Publishing Inc, 2019), 7.
6 www.moma.org/collection/works/81149. See also Dieter Daniels and Inke Arns,
Sounds Like Silence: John Cage – 4'33” – Silence Today (Leipzig: Spector, ...
Author: Shane Chalmers
This Handbook brings together 40 of the world’s leading scholars and rising stars who study international law from disciplines in the humanities – from history to literature, philosophy to the visual arts – to showcase the distinctive contributions that this field has made to the study of international law over the past two decades. Including authors from Australia, Canada, Europe, India, South Africa, the UK and the USA, all the contributors engage the question of what is distinctive, and critical, about the work that has been done and that continues to be done in the field of ‘international law and the humanities’. For many of these authors, answering this question involves reflecting on the work they themselves have been contributing to this path-breaking field since its inception at the end of the twentieth century. For others, it involves offering models of the new work they are carrying out, or else reflecting on the future directions of a field that has now taken its place as one of the most important sites for the study of international legal practice and theory. Each of the book’s six parts foregrounds a different element, or cluster of elements, of international law and the humanities, from an attention to the office, conduct and training of the jurist and jurisprudent (Part 1); to scholarly craft and technique (Part 2); to questions of authority and responsibility (Part 3); history and historiography (Part 4); plurality and community (Part 5); as well as the challenge of thinking, and rethinking, international legal concepts for our times (Part 6). Outlining new ways of imagining, and doing, international law at a moment in time when original, critical thought and practice is more necessary than ever, this Handbook will be essential for scholars, students and practitioners in international law, international relations, as well as in law and the humanities more generally.
Feel the warmth of the sun, smell the ocean's scent, and hear the sound of the
waves splashing on the shore. Let your mind and your senses immerse you in
this scene. You are safe, you are comfortable, and you are caressed and loved.
Author: Marguerite Antonio
Do you want to learn more about the marvelous, magical tools our ancestors used to help maintain and heal their bodies? Reiki (pronounced ray-key) is one such tool. The practice dates back to before the time of Christ and unleashes spiritual wisdom and life force energy. It may have begun in Tibet, India, or Egypt, but it has spread throughout the world, and for good reason. Reiki harnesses life-force energy to promote deep relaxation on mental, physical, and emotional levels; assist the body in its own innate healing process; and encourage the release of disease on all levels. Reiki: An Ancient Healing Art Revisited offers information on the history and precepts of Reiki. You can use this background to learn to use spirit-guided life-force energy for healing and maintenance; become a Reiki therapist and share healing energy with friends, family, clients, and pets; and use Reiki to achieve your desires and goals. Put Reiki and its techniques to use as soon as possible. With a longtime practitioner as your guide, you can change your life with Reiki: An Ancient Healing Art Revisited.
Luckily , Liverpool ' s thriving cultural mainstays are feeding us , from the Biennial
to artists ' talks and regeneration of cultural ... The opportunity of creating the first
Sonic Art Headquarters is tempting , a space to invite the world , experiment ...
Author: Bryan Biggs
Building on the groundbreaking book Art in a City by John Willet, which first surveyed the history of visual arts in Liverpool, this engaging follow-up explores contemporary Liverpudlian art by looking at it from alternative perspectives. Exploring and challenging the claim that Liverpool is Britain’s second city for art, Art in a City Revisited surveys key institutional players such as the Bluecoat and the Walker Gallery, as well as the Tate Liverpool, FACT, and the Liverpool Biennial. A volume with rich discussion on the nature of artistic patronage, the changing role of public art, and the social and community role of the artist—including contributions from Sean Cubitt and Mary Jane Jacob—this book is a major consideration of the role art plays in city regeneration and the future of Liverpool as a center of creative industry.
Catalog highlights the work by 12 local visual artists of the period, as well as sound installations of WMUH-FM broadcasts from the era, featuring community programmersand local band recordings.
Author: Lisa Baas
An exhibition companion book in conjunction with a celebration of downtown Allentown PA's 1980s arts and culture scene, and synonymous radio airwaves revolution. This publication focuses on a vibrant period 1978-1988. Images and essays on concurrent exhibitions at Martin Art Gallery at Muhlenberg College and the Baum School of art. Catalog highlights the work by 12 local visual artists of the period, as well as sound installations of WMUH-FM broadcasts from the era, featuring community programmersand local band recordings. Essays recall live concerts, art exhibitions and various happenings including varied performance art of the era.
Before moving on to the conclusion of this section , the reason for this subsection
' s peculiar title , sound art → sonic art , needs to be revisited . Sound art seems
not only to be a subset of sonic art ; its horizon is as wide as the one related to ...
Author: Leigh Landy
Publisher: Mit Press
This title proposes a general foundation framework for the study of the art of sound organization, defining terms, discussing relevant forms of music, categorizing works and setting sound-based music in interdisciplinary contexts.
Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking articles, alongside extended versions of his celebrated conversations with artists, previously untranscribed ...
For the past thirty years, Alan Licht has been a performer, programmer, and chronicler of New York's art and music scenes. His dry wit, deep erudition, and unique perspective- informed by decades of experience as a touring and recording guitarist in the worlds of experimental music and underground rock-have distinguished him as the go-to writer for profiles of adventurous artists across genres. A precocious scholar and improvisor, by the time he graduatedfrom college in 1990 Licht had already authored important essays on minimalist composers La Monte Young, Tony Conrad, and Charlemagne Palestine, and recorded with luminaries such as Rashied Ali and Thurston Moore. In 1999 he became a regular contributor to the British experimentalmusic magazine the Wire while continuing to publish in a wide array of periodicals, ranging from the artworld glossies to underground fanzines. Common Tones gathers a selection of never-before-published interviews, many conducted during the writing of Licht's groundbreaking articles, alongside extended versions of his celebrated conversations with artists, previously untranscribed public exchanges, and new dialogues held on the occasion of this collection.
Nauman revisited his video oeuvre for Raw Materials , in London ' s Tate Modern
. The long turbine hall was lined with speakers ... Unfortunately , it illustrates the
limitations sound art often encounters . Nauman took the audio tracks from his ...
Author: Paul Hegarty
Noise/Music looks at the phenomenon of noise in music, from experimental music of the early 20th century to the Japanese noise music and glitch electronica of today. It situates different musics in their cultural and historical context, and analyses them in terms of cultural aesthetics. Paul Hegarty argues that noise is a judgement about sound, that what was noise can become acceptable as music, and that in many ways the idea of noise is similar to the idea of the avant-garde. While it provides an excellent historical overview, the book's main concern is in the noise music that has emerged since the mid 1970s, whether through industrial music, punk, free jazz, or the purer noise of someone like Merzbow. The book progresses seamlessly from discussions of John Cage, Erik Satie, and Pauline Oliveros through to bands like Throbbing Gristle and the Boredoms. Sharp and erudite, and underpinned throughout by the ideas of thinkers like Adorno and Deleuze, Noise/Music is the perfect primer for anyone interested in the louder side of experimental music.
( Revisited ) . " It was originally a sound art piece that he made called " winnipeg
square ( blunderdevelopment remix ) , " adapted for the film . For the title film ( “
Trains of Winnipeg " ) , I worked with Emily Gooden . I mailed her several hours of
Author: Scott MacDonald
"These essays are among Scott MacDonald's best. An added bonus among all this new work is one updated vintage essay from 1981--still the very best essay ever written about the uses of pornography. All the essays are intellectually, personally and viscerally vibrant, coupling substantive recent essays with his trademark, probing interviews with key filmmakers. Each interview is beautifully paired with the essays. Scott MacDonald is a monument to thoughtful knowledge of, and pleasure in, avant-garde cinema."--Linda Williams, author of Screening Sex "More than any other critic, Scott MacDonald truly explores contemporary experimental cinema, seeking out new works and new artists, reconsidering classics and broadening out our sense of film history from the images on screen to the social, political and economic contexts and debates surrounding them. And yet if MacDonald surveys a complex landscapes, his books never carry the claustrophobia of the archive or academia. This criticism answers the call of the open road, with conversations and companionship with vivid personalities guiding the way, and the sense of high adventure waiting just around the bend."--Tom Gunning, Chair, Committee on Cinema and Media, University of Chicago
The Year in Sound Art By Anne Hilde Neset collective represented by London's
Lisson gallery . ... sound Major institutions revisited the 60s and 70s music vinyl "
for as much as you'd like to pay " , with the sculpture , rock or composition .
Author: Marc Masters
Publisher: Black Dog Pub Limited
No Wave traces the history of this influential genre from its most famous names down to its many offshoots and sidetracks. From early pioneers like Suicide and Glenn Branca, to forgotten treasures like Red Transistor and Bush Tetras, No Wave charts all the cracks and crevices of a surprisingly diverse movement. Flashing through the New York underground in the late 1970s, No Wave was the ultimate anti-movement. Its bands consisted of artists and poets untrained in music, looking to explode rock and disappear before the smoke cleared. The primary perpetrators - Lydia Lunch's howling Teenage Jesus and the Jerks, James Chance's skeletal Contortions, the dark-noise groups Mars and DNA - all drew on primitivism, performance art, and the avant-garde. They were best known for short songs and even shorter life-spans. The book also delves into No Wave cinema, a vibrant underground scene where figures like Jim Jarmusch, Nick Zedd, and Steve Buscemi first cut their teeth. Illustrated with concert photos, record covers, and other ephemera of the times, and filled with quotes from those who were there, No Wave is the definitive guide to a genre whose sounds and ideas still vibrate through alternative culture today. 220 colour & b/w photographs
On 26 January he began a letter to WBY with " All art is imitation , " and added
that only what is finite and positive to ... In music if I give myself the trouble to
analyze I can detect at one time the sound of the sea , at another the crying of
Author: Janis Londraville
Sections on "Art and Artists" and "Writers and Dreamers, now and then" present new details about JBY's importance in the development of American critical thought and his friendship with Ashcan School artist John Sloan." "Prodigal Father Revisited concludes with Jeanne Foster's memorial poem and art patron John Quinn's previously unpublished letter to W. B. Yeats, written in May 1922 - three months after the death of John Butler Yeats."--BOOK JACKET.
Plastic art resembles music : “ The felicitous combination of colors and
chiaroscuro produces . . . a musical effect in painting ” ( 8 ... The arts are
interconnected and interchangeable . ... The soft sounds of 88 GERMAINE DE
Author: Gretchen R. Besser
Publisher: Twayne Publishers
An innovative and daring writer and conversationalist, Germaine de Stael (1766-1817) was an anomaly in an era when men dominated the literary world. Among her works are two major novels, Delphine (1802) and Corinne (1807), both popular international successes at the time of their publication. Stael achieved her greatest prominence, however, as a moral and political essayist, and was banished by Napoleon in 1803 for her outspoken commentary. Her exile inspired Germany (1813), a discourse on the country's people, institutions, and culture. Germany is considered a seminal cross-cultural work of the early 19th century, for it introduced Germany and its arts and literature to the West and exerted a capital influence on the French romantic movement. A child of the Enlightenment, Stael epitomized the European culture that bridged neoclassicism to romanticism. Stael increasingly has become a subject for revision and reevaluation. In this excellent new study Gretchen Rous Besser analyzes with great clarity the life, works, and contributions of Germaine de Stael. Comprehensive in scope, it details the evolution of Stael's career, including the two novels, her important political, historical, and theoretical works, and her lesser fictional and dramatic writings. Besser offers detailed explications of Delphine and Corinne, which she situates in their sociopolitical climate, and demonstrates how Stael attempted to come to grips with women's social condition. Besser also considers Stael as a defender of political liberties, examining the composition and reception of Considerations on the French Revolution (1818) and Ten Years in Exile (1820), both significant texts published posthumously. Throughout, Besser concentrates on Stael as a cultural intermediary, exploring in depth the significance of Germany and the role Stael played as hostess to the leading minds of Europe while exiled at Coppet, her Swiss estate, during the later years of her life. Although several works have been published on Stael in recent years, they have tended to focus on a single aspect of Stael's work, particularly the novels, or have analyzed her work from a specific ideological point of view. Besser's examination, in contrast, is a thorough consideration of the whole of Stael's life and work. With its clear prose and well-balanced presentation, it is sure to become the definitive study of Germaine de Stael.