Jing Wang. Half Sound, Half Philosophy: Aesthetics, Politics, and History of China’s Sound Art. Bloomsbury Academic, 2021. xiv, 232 pp., glossary of terms, bibliography, index. ISBN 978-1501333484 (hardback) and ISBN 978-1501333507 (e-book, 240 pp.).

2021 ◽  
Vol 53 ◽  
pp. 175-177
Author(s):  
G. DOUGLAS BARRETT
Keyword(s):  
Sound Art ◽  
History Of

Dataffect: Numerical Epistemology and the Art of Data Sonification

2014 ◽  
Vol 24 ◽  
pp. 29-32
Author(s):  
Mitchell Akiyama
Keyword(s):  
Aesthetic Experience ◽  
Affective Responses ◽  
Sound Art ◽  
Artistic Creation ◽  
Capitalist Economy ◽  
Simple Representation ◽  
History Of ◽  
Data Sonification

This article examines the history of sonification in sound art, focusing on the role that data play in influencing artistic creation and aesthetic experience. The author discusses sonified data artworks that go beyond the simple representation of information and that offer critiques of what Horkheimer and Adorno described as the dehumanizing notion of equivalence at the heart of the bureaucratic, capitalist economy. Concluding with a discussion of his installation Seismology as Metaphor for Empathy (2012), the author suggests that representing data through sound can engender powerful affective responses to the cold abstraction of information.

Sound and Wonder

2021 ◽  
pp. 126-140
Author(s):  
Ray Lee
Keyword(s):  
History Of Science ◽  
Driving Force ◽  
The State ◽  
Sound Art ◽  
The Sublime ◽  
Art Works ◽  
History Of ◽  
Sense Of Wonder

Starting by describing his experience of becoming lost in wonder at the Bakken Museum of Electricity and Life in Minneapolis, in this chapter the artist Ray Lee explores his fascination with the state of wonderment. Referencing his internationally touring sound art works Siren and The Ethometric Museum he reviews the strategies that he has used to attempt to create a sense of wonder, and why this has become both a valuable aspect of his practice and a distinctive part of the audience experience. Throughout the history of science wonder has been a driving force for discovery, yet the sublime, with its suggestion of the spiritual, has more often been used to describe the experience of art. The chapter looks at how wonder creates a sense of creative uncertainty, de Certeau’s ‘rift in time’ or, as Bataille puts it, a state of ‘intolerable non-knowledge, which has no other way out other than ecstasy’.

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.

scholarly journals Click::RAND. A Minimalist Sound Sculpture

2020 ◽  
Author(s):  
Paul Dunham ◽  
Mo Zareei ◽  
Dugal McKinnon ◽  
Dale Carnegie
Keyword(s):  
Sound Art ◽  
Random Numbers ◽  
Research Approach ◽  
Archaeological Research ◽  
Deterministic Approach ◽  
History Of Computing ◽  
Sound Installation ◽  
Object Based ◽  
History Of ◽  
Sound Sculpture

Discovering outmoded or obsolete technologies and appropriating them in creative practice can uncover new relationships between those technologies. Using a media archaeological research approach, this paper presents the electromechanical relay and a book of random numbers as related forms of obsolete media. Situated within the context of electromechanical sound art, the work uses a non-deterministic approach to explore the non-linear and unpredictable agency and materiality of the objects in the work. Developed by the first author, Click::RAND is an object-based sound installation. The work has been developed as an audio- visual representation of a genealogy of connections between these two forms of media in the history of computing.

scholarly journals Architecture and music/sound: Points of meeting, networking, interactions

2014 ◽  
Vol 6 (1) ◽  
pp. 75-88
Author(s):  
Biljana Srećković
Keyword(s):  
Sound Art ◽  
Avant Garde ◽  
Formal Level ◽  
History Of ◽  
Music And Architecture ◽  
Relationship Of ◽  
The Relationship ◽  
Architecture And Music

This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).

Perjalanan Karir Kesenimanan Siti Chairani Proehoeman Sebagai Penyanyi Soprano (Sebuah Biografi)

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Ofa Yutri Kumala Yutri Kumala ◽  
Martarosa Martarosa ◽  
Nursyirwan Nursyirwan
Keyword(s):  
Life History ◽  
Research Method ◽  
Role Model ◽  
Family Background ◽  
Sound Art ◽  
Data Sources ◽  
Analytic Description ◽  
Professional Career ◽  
History Of

This research, is the career journey of Siti Chairani Proehoeman as a soprano who has taken part in various countries, and is a great teacher who is a role model for every student who specializes in studying in the field of sound art. Siti Chairani Prohoeman is an Indonesian citizen who is very influential in Malaysia, he created a movement about vocals in Malaysia, great enthusiasm Siti Chairani Proehoeman has made vocals a culture for Malaysia. The names of the countries that Siti Chairani Proehoeman often performed at concerts, operas and recitals are in Italy, Germany, the Netherlands, France, Finland, USA, Japan, South Korea, Thailand, Singapore, Malaysia, Indonesia. Siti Chairani Proehoeman already has several serial albums and her professional career is a Classical / Opera singer (Soprano). The factors of Siti Chairani Proehoeman became a famous soprano in various countries, namely family background, habits, environment and education. This study discusses Siti Chairani Proehoeman's career as a soprano in a biographical form. In this case the history of Siti Chairani Proehoeman's career as a soprano based on data, sources, informants and all matters relating to the life history of an artist. This research method, analytic description, case study, observer participation. The results showed that, in the practice of Siti Chairani Proehoeman's life based on a musicalological perspective and assisted through historical and biographical reviews, Siti Chairani Proehoeman's position was a famous soprano.

Sound Art and Time

2021 ◽  
pp. 68-86
Author(s):  
Christoph Cox
Keyword(s):  
Sound Art ◽  
John Cage ◽  
Philosophy Of Time ◽  
Time Duration ◽  
History Of ◽  
The Relationship

This chapter explores the relationship between sound art and time, focusing on a set of works that mark milestones in the history of sound art and that explicitly engage varieties of temporality. It begins with a discussion of Thomas Edison’s invention of phonography, which allowed sound to be captured and gave it an untimely existence. It then turns to the work of John Cage, analysing it by way of Henri Bergson’s philosophy of time. The essay goes on to discuss the notions of time, duration, and eternity in Maryanne Amacher’s radio works, Max Neuhaus’s installations, La Monte Young’s Dream House, Jem Finer’s Longplayer, and other works.

Materiality in Sound Art

2018 ◽  
Vol 23 (3) ◽  
pp. 225-234 ◽  
Author(s):  
Asbjørn Blokkum Flø
Keyword(s):  
Spectral Composition ◽  
Sound Art ◽  
Acoustic Properties ◽  
Western Art ◽  
The Arts ◽  
Art Forms ◽  
History Of ◽  
Surrounding Space ◽  
Sound Objects ◽  
The Relationship

This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding the resurgence of kinetics in sound art. The first part of this article studies the historical narratives of materiality in sound art, while the second part investigates materiality in my own works as more contemporary examples. Here the text turns to exploration of the material and acoustic properties of metal rods and plates, and suggests that direct contact with sound-producing objects provides opportunities for new art forms where the morphology of sound can be developed in dialogue with the physical objects and the surrounding space. By examining the underlying acoustic principles of rods and plates, we get a deeper understanding of the relationship between mathematical models and the actual sounding objects. Using the acoustic model with basic input parameters enables us to explore the timbral possibilities of the sound objects. This allows us to shape the spectrum of acoustic sound objects with great attention to detail, and makes models from spectromorphology relevant during the construction of the objects. The physical production of sound objects becomes both spectral composition and shaping of spatial objects. This highlights the importance of knowledge of both materials and acoustic principles, and questions the traditional perception of sound art and music as immaterial art forms.

scholarly journals Resounding Memory: Aural Augmented Reality and the Retelling of History

2017 ◽  
Vol 27 ◽  
pp. 12-16 ◽  
Author(s):  
Verónica Soria-Martínez
Keyword(s):  
Augmented Reality ◽  
Social Interactions ◽  
Public Space ◽  
Physical Space ◽  
Communication Technologies ◽  
Sound Art ◽  
Subjective Memory ◽  
The Public ◽  
History Of

This text discusses sound art projects in which artists have used augmented reality along with recordings or data of public spaces. All the works mentioned here were carried out in Spain from 2010 to 2016. In them, memories become tied to the physical space through social interactions facilitated by communication technologies; listeners get involved through the use of mobile devices. These practices consider the role of sound in the display of memories in the public space, thus configuring a subjective memory that contrasts with the institutional narrations of the history of a place.

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