Electroacoustic music studies: some thoughts and possibilities

2007 ◽  
Vol 12 (2) ◽  
pp. 167-169
Author(s):  
Hasnizam Abdul Wahid
Keyword(s):  
Visual Art ◽  
Electroacoustic Music ◽  
Sound Art ◽  
The West ◽  
Historical Perspectives ◽  
Art Form

AbstractElectroacoustic music is relatively new and something of an experiment in Malaysia. Involvement in various technology- and art-related performing and composing activities has nurtured my interest, particularly with reference to electroacoustic music.Unlike visual art, it is not known exactly where and when our historical perspectives in sound art originate, and I would suggest that no electroacoustic music or pieces are known to have been performed or presented in Malaysia since the art form was first pioneered in the West more than fifty years ago.This paper introduces some thoughts and possibilities relating to electroacoustic music from the Malaysian perspective.

Sublime Stenches

Art Scents ◽  
2020 ◽  
pp. 182-200
Author(s):  
Larry Shiner
Keyword(s):  
Visual Art ◽  
Sound Art ◽  
Art Galleries ◽  
Art Form ◽  
Professional Artists

Chapter 10 discusses hybrids of odors with visual art genres or materials, works that are typically created by professional artists and presented in art galleries and museums under the rubric “olfactory art.” After surveying various types of olfactory or scent art, the chapter considers the question of whether “olfactory art” actually names a coherent category or art form, suggesting a tentative yes, based on historical parallels between olfactory or scent art and contemporary “sound art,” such as the fact that there are a number of artists who identify themselves as olfactory artists and have issued manifestoes promoting olfactory art and that some galleries and museums have recognized it as an art kind. The chapter then takes up some questions of ontology and interpretation, including the question of why “sublime stenches” are important in much of contemporary olfactory art.

Acoustic Art Forms in the Age of Recordability

2015 ◽  
Vol 20 (2) ◽  
pp. 200-206
Author(s):  
Gerald Fiebig
Keyword(s):  
Visual Art ◽  
Electroacoustic Music ◽  
Sound Art ◽  
Sound Recording ◽  
Technological Basis ◽  
Sonic Art ◽  
Art Forms ◽  
The Status ◽  
History Of ◽  
Radio Art

Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.

in your ear: hearing art in the twenty-first century

2005 ◽  
Vol 10 (2) ◽  
pp. 91-96 ◽  
Author(s):  
laura heon
Keyword(s):  
Visual Art ◽  
Space Time ◽  
Sound Art ◽  
First Century ◽  
Past Century ◽  
The Past ◽  
Space And Time ◽  
Art Form ◽  
Twenty First Century ◽  
Sister Arts

over the past century, an art form has emerged between the realms of visual art and music. created by composers and sculptors, ‘sound art’ challenges fundamental divisions between these two sister arts and may be found in museums, festivals or public sites. works of sound art play on the fringes of our often-unconscious aural experience of a world dominated by the visual. this work addresses our ears in surprising ways: it is not strictly music, or noise, or speech, or any sound found in nature, but often includes, combines and transforms elements of all of these. sound art sculpts sound in space and time, reacts to environments and reshapes them, and frames ambient ‘found sound’, altering our concepts of space, time, music and noise.

The Mistaken Identification of “The West” with “Modernity”

1996 ◽  
Vol 13 (1) ◽  
pp. 1-12
Author(s):  
John Obert Voll
Keyword(s):  
World History ◽  
Negative Consequences ◽  
The West ◽  
Islamic World ◽  
Historical Perspectives ◽  
Important Impact ◽  
Mistaken Identification ◽  
Nature Ofthe ◽  
Made In ◽  
The Way

The relationships between Islam and the West are complex. Even theperceptions of those relations have an important impact on the nature ofthe interactions. If the basic images that are used in discussing “Islam andthe West” are themselves ill-defiied or viewed in inconsistent ways, therelationships themselves are affected in sometimes dangerous ways.Inconsistent and contradictory terms of analysis can lead to misunderstandingand conflict.One of the most frequent conceptual mistakes made in discussingIslam and the West in the modem era is the identification of “the West”with “modemity.” This mistake has a significant impact on the way peeple view the processes of modernization in the Islamic world as well as onthe way people interpret the relationships between Islam and the West inthe contemporary era.The basic generalizations resulting from the following analysis can bestated simply: 1) “modernity“ is not uniquely “western”; 2) “the West” isnot simply “modernity”; and 3) the identifixation of “the West” with“modemity” has important negative consequences for understanding therelationships between Islam and the West. Modernity and the West aretwo different concepts and historic entities. To use the terms interchangeablyis to invite unnecessary confusion and create possible conflict’andinconsistency. This article will address the problem of definition and theapplication of the defined terms to interpreting actual experiences andrelationships.Understanding the difficulties raised by the identification of theWest with modernity involves a broader analysis within the frameworkof world history and global historical perspectives. In such an analysis, ...

Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art

2021 ◽  
pp. 1-26
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Contemporary Art ◽  
Contemporary Music ◽  
Conceptual Art ◽  
Social Process ◽  
Theoretical Concept ◽  
Sound Art ◽  
Art Theory ◽  
Avant Garde ◽  
Absolute Music ◽  
Art Form

Abstract This article elaborates the art-theoretical concept of ‘the contemporary’ along with formal differences between contemporary music and contemporary art. Contemporary art emerges from the radical transformations of the historical avant-garde and neo-avant-garde that have led to post-conceptual art – a generic art beyond specific mediums that prioritizes discursive meaning and social process – while contemporary music struggles with its status as a non-conceptual art form that inherits its concept from aesthetic modernism and absolute music. The article also considers the category of sound art and discusses some of the ways it, too, is at odds with contemporary art's generic and post-conceptual condition. I argue that, despite their respective claims to contemporaneity, neither sound art nor contemporary music is contemporary in the historical sense of the term articulated in art theory. As an alternative to these categories, I propose ‘musical contemporary art’ to describe practices that depart in consequential ways from new/contemporary music and sound art.

My Reference Is Prejudiced: David Lamelas's Publication

ARTMargins ◽  
2013 ◽  
Vol 2 (3) ◽  
pp. 31-62
Author(s):  
Daniel R. Quiles
Keyword(s):  
Buenos Aires ◽  
Conceptual Art ◽  
Close Reading ◽  
The West ◽  
Critical Mode ◽  
Written Responses ◽  
Art Form ◽  
West European

This article addresses David Lamelas's 1970 work Publication, arguing that it represents a subtle critique of the internationalization of conceptual art by a recent entrant into the West European milieu. Exhibited at Nigel Greenwood Gallery in London after the artist's 1968 relocation from Argentina, Publication consists of thirteen written responses to three statements about the possible use of “language as an Art Form” that were sent by Lamelas to international figures in conceptual art such Daniel Buren, Gilbert and George, Lucy Lippard, and Lawrence Wiener. A close reading of this and others of Lamelas's experiments works leading up to this moment reveals affinities with earlier artistic experiments in Buenos Aires, the artist's original context, that have anything but membership in a preexisting movement or the adoption of an established genre as their goal. Between the years 1965 and 1968, Lamelas was part of a group of artists associated with the Torcuato di Tella Institute and the writer Oscar Masotta, who advocated an analytical and antagonistic “dematerialization,” in which prevailing tendencies were to be systematically examined, voided from within, and superseded. In Buenos Aires, Lamelas experimented with breaking his works into sections as a way of calling attention to given objects of attention—a practice of “signaling” that is also present in Publication. Invariably, these works were positioned in critical relationship to those of his peers, applying Masotta's model to each new milieu. In what follows, I compare select works of Lamelas with his contemporaries in Buenos Aires and abroad between 1964 and 1970, contending that Publication represents one of the first appearances of a specifically Argentine, and highly critical, mode of conceptualism in the international art field.

Kazuo Ohno's World from Without and Within. By Kazuo Ohno and Yoshito Ohno. Translated by John Barrett. Middletown, CT: Wesleyan University Press, 2004; pp. 344. $34.95 paper.

2005 ◽  
Vol 46 (2) ◽  
pp. 315-317
Author(s):  
Kurt Wurmli
Keyword(s):  
Academic Research ◽  
Modern Dance ◽  
Deep Understanding ◽  
Research Centers ◽  
The West ◽  
Avant Garde ◽  
Art Form ◽  
The World ◽  
Inside View ◽  
Scholarly Attention

Kazuo Ohno and Tatsumi Hijikata are recognized as the most influential creators of the contemporary Japanese dance form known today as butoh. Since its wild and avant-garde beginnings in the late 1950s, butoh has evolved into an established and appreciated art form throughout the world. Despite its popularity and strong influences on the international modern dance world, butoh only recently became an accepted subject for academic research in Japan as well as in the West. With the new opening of butoh research centers and archives—such as the Ohno Dance Studio Archives at BANK ART 1929 in Yokohama, the Kazuo Ohno Archives at Bologna University in Italy, and the Hijikata Tatsumi Archives at Keio University in Tokyo—serious scholarly attention has been given to the art of butoh's founders. However, the lack of firsthand sources by butoh artists reflecting their own work still poses great limitations for a deep understanding of the art form. Kazuo Ohno's World from Without and Within is not only the first full-length book in English about the master's life and work, but also offers a rare inside view of butoh.

scholarly journals Doing Theatre: Theatre Pedagogy through the Folktale

2020 ◽  
Vol 11 (3) ◽  
pp. 80-91
Author(s):  
Jean Small
Keyword(s):  
Procedural Memory ◽  
West African ◽  
French Language ◽  
The West ◽  
Repeated Interaction ◽  
Art Form ◽  
Language And Literature ◽  
Theatre Pedagogy ◽  
The Brain

Theatre Pedagogy holds that cognition is body-based. Through performance the body’s unconscious procedural memory learns. This information learned through repeated interaction with the world is transmitted to the brain where it becomes conscious knowledge. Theatre Pedagogy in this case study is based on the implementation of a Caribbean cultural art form in performance, in order to teach Francophone language and literature at the postsecondary level in Jamaica. This paper describes the experience of “doing theatre” with seven university students to learn the French language and literature based on an adaptation of two of Birago Diop’s folktales. In the process of learning and performing the plays, the students also understood some of the West African cultural universals of life which cut across the lives of learners in their own and in foreign cultural contexts.

Broken Cinema

2011 ◽  
pp. 132-145
Author(s):  
Raphael DiLuzio
Keyword(s):  
Visual Art ◽  
Software Tools ◽  
Art Form ◽  
Basic Understanding ◽  
Digital Time

This is a guide for working with a visual art form using a digital time-based medium. This chapter will provide an overview of the necessary theories; processes, concepts and most important the “elements,” needed to create expressive visual artworks through the technologies associated with this visual art form. It will examine in some detail how people can effectively visually communicate and express our artistic ideas and intentions through a digitally time-based medium. We have reached a point in time-based visual art where the tools and technology have matured enough to allow us to focus our attention more on process and concept rather than specific hardware or software tools. Please understand that more than a theorist, the author is a practitioner of the art form that he will discuss in the following pages. As such, at times, the author will be using his own empirical experience to support arguments in combination with or in place of the opinions of others. The ideas this chapter would like to address are rather complex and there is not enough space in a single chapter to put them forth in their entirety. Therefore, by necessity the atuhor will have to be brief, somewhat simplified, and a bit reductive. Nonetheless, he hopes it provides a basic understanding of the concepts and principles for creating visual art with a digital time-based medium.

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