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Titel och upphov Background noise : perspectives on sound art
Utgivning, distribution etc. Continuum International , New York ; London ; 2006 : 2006.
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Term
Uniform titel Perspectives on sound art
ISBN 0-8264-1844-9 (hardcover : alk. paper) 0-8264-1844-9 0-8264-1845-7 (pbk. : alk. paper) 0-8264-1845-7
Antal i kö:
*00001078nam a22003737a 4500
*00123595
*007|||||||||||||||||||||||
*008110824s2006 xxu | 00| u eng c
*020 $a0-8264-1844-9 (hardcover : alk. paper)
*020 $a0-8264-1844-9
*020 $a0-8264-1845-7 (pbk. : alk. paper)
*020 $a0-8264-1845-7
*035 $a(Ko)27123
*084 $aIji
*084 $aIb.55
*084 $a786.7
*1001 $aLaBelle, Brandon
*24510$aBackground noise :$bperspectives on sound art /$cBrandon LaBelle
*260 $aNew York ;$aLondon ;$a2006 :$bContinuum International ,$c2006.
*300 $a316 p. :$bill.
*504 $aIncludes bibliographical references and index.
*650 4$aLjudkonst
*650 4$aPerformance
*650 4$aKonst
*650 4$a1945-
*650 4$aSound in art.
*650 4$aSite-specific art.
*650 4$aPerformance art.
*650 4$aArts, Modern
*650 4$a20th century.
*7300 $aPerspectives on sound art
*8520 $hMUSIK & LJUDKONST - Iji
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The rise of a prominent auditory culture, reveals the degree to which sound art is lending definition to the 21st Century. And yet sound art still lacks related literature to compliment, and expand, the realm of practice. Background Noise sets out an historical overview, while at the same time shaping that history according to what sound art reveals - the dynamics of art to operate spatially, through media of reproduction and broadcast, and in relation to the intensities of communication and its contextual framework
Acknowledgements p. vii Introduction: Auditory Relations p. ix Fade In p. xvii 4'33": Sound and Points of Origin p. 1 Introduction to Part 1 p. 3 Sociality of Sound: John Cage and Musical Concepts p. 7 Exposing the Sound Object: Musique Concrete's Sonic Research p. 24 Automatic Music: Group Ongaku's Performative Labors p. 35 Box with the Sound of Its Own Making: From Gags to Sculptural Form p. 47 Introduction to Part 2 p. 49 Rhythms of Chaos: Happenings, Environments, and Fluxus p. 54 Minimalist Treatments: La Monte Young and Robert Morris p. 68 Conceptualizations: Michael Asher and the Subject of Space p. 87 I Am Sitting in a Room: Vocal Intensities p. 99 Introduction to Part 3 p. 101 Performing Desire/ Performing Fear: Vito Acconci and the Power Plays of Voice p. 108 Finding Oneself: Alvin Lucier and the Phenomenal Voice p. 123 Word of Mouth: Christof Migone's Little Manias p. 133 Public Supply: Buildings, Constructions, and Locational Listening p. 147 Introduction to Part 4 p. 149 Tuning Space: Max Neuhaus and Site-Specific Sound p. 154 Other Architectures: Michael Brewster, Maryanne Amacher, and Bernhard Leitner p. 167 Composing Intensities: Iannis Xenakis's Multimedia Architectures p. 183 Soundmarks: Environments and Aural Geography p. 195 Introduction to Part 5 p. 197 Seeking Ursound: Hildegard Westerkamp, Steve Peters, and the Soundscape p. 201 Language Games: Yasunao Tone and the Mechanics of Information p. 218 Complicating Place: Bill Fontana and Networking the Soundscape p. 230 Global Strings: Interpersonal and Network Space p. 243 Introduction to Part 6 p. 245 Interactions: Achim Wollscheid's Production of the Local p. 251 Global Events: Atau Tanaka and Network as Instrument p. 267 Live Streams: Apo33 and Multiplying Place p. 280 Fade Out p. 293 Conclusion: Auditive Pivot p. 295 List of Works Cited p. 299 Index p. 309