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.

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.

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.

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.

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.

Prosthetic Abilities: Conceptualizing Sound Machines for Amplified Elephants

Leonardo ◽  
2016 ◽  
Vol 49 (2) ◽  
pp. 148-155
Author(s):  
James Hullick
Keyword(s):  
Intellectual Disabilities ◽  
Musical Instruments ◽  
Human Condition ◽  
Sound Art ◽  
Art Form ◽  
The Human Condition

This article discusses how an understanding of prosthetic imagining has influenced the making of sound machines for the Amplified Elephants—a group of sound artists living with intellectual disabilities. This research is contextualized through the discussion of relevant precedent artists: performance artist Stelarc and sound artist Ernie Althoff. The article presents the point that sound art (including music) is a predominantly prosthetic art form; sound-making devices (including traditional musical instruments) can be conceived of as prosthetic audio devices. Investigating notions of prosthesis can inform us further on the human condition.

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.

Ryoki Ikeda and the Prioritising of Space over Time in Musical Discourse

2017 ◽  
Vol 22 (3) ◽  
pp. 378-384
Author(s):  
Adam Collis
Keyword(s):  
Contemporary Music ◽  
Sound Art ◽  
Music Practice ◽  
Art Form ◽  
Broadband Spectrum ◽  
Alternative Approach ◽  
Musical Discourse ◽  
The Status ◽  
Nature Of Time ◽  
Over Time

No art form so rigorously organises time as music. Whereas all art in some sense exists in time, music could be said to be of time. This article, however, questions implicit assumptions about the fundamental nature of time to music. In contrast, an alternative approach to the discourse of composition and analysis is proposed in which space rather than time is privileged. Russolo, Stockhausen, Cage and Agostino Di Scipio are cited as historical precedents where the status of time in music is questioned but a more detailed consideration is given to Ryoji Ikeda, a contemporary sound-art practitioner who, it is argued, represents a turn towards the privileging of space in contemporary music practice. This article argues that an approach to composition that implicitly accepts the primacy of time tends to privilege sounds that are more easily described symbolically, such as notated pitched sounds or materials with clear spectromorphological design. In contrast, an approach that places greater concern with the work in space facilitates the greater use of materials that could be considered ‘noise’, in the sense of both a broadband spectrum and signal disruption.

Schemas: The Evolution of a Minimal Visual Art Form

Leonardo ◽  
1991 ◽  
Vol 24 (3) ◽  
pp. 273 ◽  
Author(s):  
Robert Emmett Mueller
Keyword(s):  
Visual Art ◽  
Art Form

scholarly journals Leadership of Malay Painters as a Backdrop to the Landscape of Modern Malaysian Painting (Abdullah Ariff, Hossein Enas & Syed Ahmad Jamal)

2019 ◽  
Vol 9 (2) ◽  
pp. 1973-1981
Keyword(s):  
Visual Art ◽  
Art Gallery ◽  
Cultural Approach ◽  
The Arts ◽  
Art Form ◽  
Paul Cezanne ◽  
Qualitative Observation ◽  
Observation Method ◽  
Unique Style ◽  
Local Leaders

Modern painting was a new ideology that was brought in from Western countries in the 20th century. The art form, which was pioneered by renowned artist Paul Cezanne, can be identified through its own unique style, characterised by bold brush strokes and strong colours that represent self-expression. The influence of the modern painting movement was first introduced to the Malay Peninsula in the early 1900s by the British, who had colonised Penang at the time. This influence resulted in the emergence of three prominent local painters, who became local leaders of the modernism ideology, namely, Abdullah Ariff, Hoessein Enas and Syed Ahmad Jamal. Their indomitable spirit and efforts to develop the local painting scene succeeded and this is evident in their establishment as painters that are regarded as being of high calibre both nationally and internationally. They must therefore be categorised as leaders and visual guides to encourage Malay youth to participate in the world of painting. Therefore, an analytical observation must be carried out to show that these three prominent painters possess characteristics of leadership, creativity, critical thinking and efficiency, as well as advantages in various aspects whether in art creation or administration. Among these aspects are a dominant personality, painting through touches of colour on a canvas that can influence the viewer, the ability to move their peers and students to take part in the arts and to effectively convey a theme through painting. In order to consider these matters, the writer used the qualitative observation method, with a cultural approach, specifically by collecting written data and visuals from the National Visual Art Gallery. The existence of this research paper provides us with a picture of a sincere and persistent struggle, which succeeded in guiding local youth to join the effort in further elevating the nation's visual art field.

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