Sound art
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Sound art is an artistic activity in which
In
Origin of term
According to Bernhard Gál's research, the first published use of the term was found in Something Else Press on the cover of their 1974 Yearbook.[6] The first use as the title of an exhibition at a major museum was 1979's "Sound Art" at the Museum of Modern Art in New York (MoMA), featuring Maggi Payne, Connie Beckley, and Julia Heyward.[7] The curator, Barbara London defined sound art as, "more closely allied to art than to music, and are usually presented in the museum, gallery, or alternative space."[8]
Commenting on an exhibition called "Sound/Art" at The Sculpture Center in New York City in 1984 art historian Don Goddard noted: "It may be that sound art adheres to curator Hellermann's perception that 'hearing is another form of seeing,' that sound has meaning only when its connection with an image is understood...The conjunction of sound and image insists on the engagement of the viewer, forcing participation in real space and concrete, responsive thought, rather than illusionary space and thought."[9]
Sound installation
Sound installation is an
Sound installations sometimes use interactive art technology (
Sound structure in sound installations
- The simplest sound form is a repeating sound loop. This is mostly used in Ambient music-like art, and in this case the sound is not the determinant factor of the art work.
- The most used sound structure is the open form, since the public can decide to experience a sound installation for just a few minutes or for a longer period of time. This obliges the artist to construct a sound organization that is capable of working well in both cases.
- There is also the possibility to have a linear sound structure, where sound develops in the same way as in a musical composition. This type of structure can be seen in interactive sound installations like "The Zone," created by the collaborative group Volumetric Units, which explores the phenomenological experience of hyperreal cyberspace[12]
Sound sculpture
Sound sculpture is an intermedia and time-based art form in which sculpture or any kind of art object produces sound, or the reverse (in the sense that sound is manipulated in such a way as to create a sculptural as opposed to temporal form or mass). Most often sound sculpture artists were primarily either visual artists or composers, not having started out directly making sound sculpture.
Cymatics and kinetic art have influenced sound sculpture. Sound sculpture is sometimes site-specific.[citation needed] Bill Fontana's research on urban sound sculpture delves into the concept of shifting ambient noises within cityscapes to produce distinct auditory encounters. Through this approach, he modifies the surrounding soundscape, impacting how listeners perceive their environment while highlighting both the auditory and visual elements of a particular space.[13]
Sound Artist and Professor of Art at Claremont Graduate University Michael Brewster described his own works as "Acoustic Sculptures" as early as 1970.[14] Grayson described sound sculpture in 1975 as "the integration of visual form and beauty with magical, musical sounds through participatory experience."[15]
Notable sound sculptures
- Blackpool High Tide Organ
- Gesundheit Radio
- Sea organ
- Singing Ringing Tree (Panopticons)
- A Sound Garden
- Golden Gate Bridge#Wind
Gallery
-
Harry Bertoia, Textured Screen, 1954
-
Panopticon: The Singing Ringing Tree
-
The Blackpool High Tide Organ
-
The Cristal Baschet
-
Yuri Landman, Moodswinger, 2006
-
Bašić's sea organ
See also
- List of sound art organizations and festivals
- List of sound artists
- List of topics related to Sound Art
- Acousmonium
- Acoustic ecology
- Work of art
- Audium
- Cassette culture
- Electronic music
- Fluxus
- Installation art
- Intermedia
- NIME
- Noise music
- Odonien
- Performance art
- Radio art
- Sonification
- Sound effect
- Sound poetry
- Soundscape
- Video game music
- Visual music
- Sound map
Notes
- ^ Szendy, Peter. Listen: A History of Our Ears, Fordham University Press, pp. 5-8
- ^ LaBelle, Brandon (2006). Background Noise: Perspectives on Sound Art (London and New York: Continuum), p. ix. ISBN 9780826418449
- ^ Goldsmith, Kenneth. Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York, p. 125.
- ^ Brückner, Atelier (2010). Scenography / Szenografie - Making spaces talk / Narrative Räume. Stuttgart: avedition. p. 209.
- ^ Kenneth Goldsmith, Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York, p. 136.
- S2CID 57559930.
- .
- ^ "Museum of Modern Art, Museum exhibition features works incorporating sound, press release no. 42 for Sound Art exhibition 25 June–5 August 1979". No. Exh. 1266. MoMA Archives.
- ^ Hellerman, William, and Don Goddard. 1983. Catalogue for "Sound/Art" at The Sculpture Center, New York City, May 1–30, 1984 and BACA/DCC Gallery June 1–30, 1984.[page needed].
- ^ Ouzounian, Gascia (2008). Sound art and spatial practices: situating sound installation art since 1958. San Diego: UC.
- ^ Brückner, Atelier (2010). Scenography / Szenografie - Making spaces talk / Narrative Räume. Stuttgart: avedition. p. 209.
- S2CID 250706593.
- S2CID 57558532.
- ^ "Claremont Graduate University mourns loss of longtime art Professor Michael Brewster". Claremont Graduate University. 23 June 2016. Retrieved 26 September 2021.
- ISBN 0-88985-000-3.
References
- Kenneth Goldsmith, Duchamp Is My Lawyer: The Polemics, Pragmatics, and Poetics of UbuWeb, Columbia University Press, New York
- ISBN 0-262-61172-4.
- ISBN 0-8478-2969-3.
- Peter Szendy. 2008. Listen: A History of Our Ears, Fordham University Press
- Brandon LaBelle. 2006. Background Noise: Perspectives on Sound Art, London & New York: Continuum. ISBN 9780826418449.
Further reading
- ISBN 0-8166-1287-0(pbk.)
- Bandt, Ros. 2001. Sound Sculpture: Intersections in Sound and Sculpture in Australian Artworks. Sydney: Craftsman House. ISBN 1-877004-02-2.
- ISBN 0-8195-6028-6)
- Cox, Christoph. 2003. "Return to Form: Christoph Cox on Neo-modernist Sound Art—Sound—Column." Artforum (November): [pages].
- Cox, Christoph. 2009. "Sound Art and the Sonic Unconscious". Organised Sound 14, no. 1:19–26.
- Cox, Christoph. 2011. "Beyond Representation and Signification: Toward a Sonic Materialism". Journal of Visual Culture 10, no. 2:145–161.
- Cox, Christoph, and Daniel Warner (eds.). 2004. Audio Culture: Readings in Modern Music. New York: Continuum. ISBN 0-8264-1615-2.
- Drobnick, Jim (ed.). 2004. Aural Cultures. Toronto: YYZ Books; Banff: Walter Phillips Gallery Editions. ISBN 0-920397-80-8.
- Groth, Sanne Krogh, and Holger Schulze (eds.). 2020. The Bloomsbury Handbook of Sound Art. New York: Bloomsbury. ISBN 978-1-5013-3879-3.
- ISBN 978-0-8264-1727-5(pbk)
- Jensenius, Alexander Refsum; Lyons, Michael, eds. (2017). A NIME Reader: Fifteen Years of New Interfaces for Musical Expression. ISBN 978-3-319-47214-0.
- Kim-Cohen, Seth. 2009. In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. New York: Continuum. ISBN 978-0-8264-2971-1
- LaBelle, Brandon. 2006. Background Noise: Perspectives on Sound Art. New York and London: The Continuum International Publishing Group. ISBN 0-8264-1845-7(pbk)
- Lander, Dan, and Micah Lexier (eds.). 1990. Sound by Artists. Toronto: Art Metropole/Walter Phillips Gallery.
- ISBN 0-8195-5042-6.
- Nechvatal, Joseph. 2000. "Towards a Sound Ecstatic Electronica". The Thing.
- ISBN 0-914162-60-8(pbk)
- Paik, Nam June. 1963. "Post Music Manifesto," Videa N Videology. Syracuse, New York: Everson Museum of Art.
- Peer, René van. 1993. Interviews with Sound Artists. Eindhoven: Het Apollohuis.
- Rogers, Holly. 2013. Sounding the Gallery: Video and the Rise of Art-Music. Oxford: Oxford University Press.
- ISBN 978-0-9538896-8-6.
- Schafer, R. Murray. 1977. The Soundscape. Rochester, Vermont: Destiny Books. ISBN 0-89281-455-1
- Schulz, Berndt (ed.). 2002. Resonanzen: Aspekte der Klangkunst. Heidelberg: Kehrer. ISBN 3-933257-86-7. (Parallel text in German and English)
- Skene, Cameron. 2007. "Sonic Boom". The Montreal Gazette (13 January).
- ISBN 1-85242-789-2(pbk.)
- Valbonesi, Ilari. A.A.A.A.A.A.A. Cercasi Sound Art. ARTE E CRITICA, ISSUE 64, (2010)
- Wilson, Dan. 2011. "Sonics in the Wildernesses – A Justification." The Brooklyn Rail (April)
- ISBN 3-7186-5848-8(CD recording)