Sound art is one of the most fascinating phenomena in modern art. In recent years, more and more people have developed an interest in it: they apparently sense that this form of art touches on a fundamental experience. After all, at the very beginning, all of us got to know the world we live in as an acoustic space, before the sense of sight, which develops later, put us at a distance from the world. This book provides insight into the work of important protagonists of sound art and some of its outstanding representatives from the younger generation: Andres Bosshard (Switzerland; 1955) Paul DeMarinis (U.S.; 1948), Rolf Julius (Germany; 1939), Christina Kubisch (Germany; 1948), Bernhard Leitner (Austria; 1938), Andreas Oldorp (Germany; 1959), Ed Osborn (U.S.; 1964), Martin Riches (U.K.; 1942), Steve Roden (U.S.; 1964), Erwin Stache (Germany; 1960) and Miki Yui (Japan; 1971).
PreSchool-K-- A playful bedtime romp through the animal kingdom. Inspired by a story about Noah's Ark, twins Minnie and Max perform their prebed activities Two by Two . So, two crocodiles splashingly brush their teeth, two kangaroos jump enthusiastically on the bed, and two cubs hide from Daddy in their blanket cave. When Max begins to : cry, fearing a lion under his bed, brave Minnie discovers it's the family cat. Only then can the twins snuggle together, like two little mice, and fall asleep. That their antics are purely imaginative is revealed through colorful illustrations and creative page design. Bright watercolor paintings reveal a cozy home and a happy family. While the brief text and formulaic plot make this an excellent choice for toddlers, the large type is appropriate for beginning readers. --Jeanne Marie Clancy, Upper Merion Township Library, King of Prussia, PA Copyright 1992 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.
Sounding New Media examines the long-neglected role of sound and audio in the development of new media theory and practice, including new technologies and performance art events, with particular emphasis on sound, embodiment, art, and technological interactions. Frances Dyson takes an historical approach, focusing on technologies that became available in the mid-twentieth century-electronics, imaging, and digital and computer processing-and analyzing the work of such artists as John Cage, Edgard Varèse, Antonin Artaud, and Char Davies. She utilizes sound's intangibility to study ideas about embodiment (or its lack) in art and technology as well as fears about technology and the so-called "post-human." Dyson argues that the concept of "immersion" has become a path leading away from aesthetic questions about meaning and toward questions about embodiment and the physical. The result is an insightful journey through the new technologies derived from electronics, imaging, and digital and computer processing, toward the creation of an aesthetic and philosophical framework for considering the least material element of an artwork, sound.
The "sonic turn" in recent art reflects a wider cultural awareness that sight no longer dominates our perception or understanding of contemporary reality. The background buzz of myriad mechanically reproduced sounds increasingly mediates our lives. Tuning into this incessant auditory stimulus, some of our most influential artists have investigated the corporeal, cultural, and political resonance of sound. In tandem with recent experimental music and technology, art has opened up to hitherto excluded dimensions of noise, silence, and the act of listening. Artists working with sound have engaged in new forms of aesthetic encounter with the city and nature, the everyday and cultural otherness, technological effects and psychological states. New perspectives on sound have generated a wave of scholarship in musicology, cultural studies, and the social sciences. But the equally important rise of sound in the arts since 1960 has so far been sparsely documented. This volume is the first sourcebook to provide, through original critical writings and artists' statements, a genealogy of sonic pathways into the arts, philosophical reflections on the meanings of noise and silence, dialogues between art and music, investigations of the role of listening and acoustic space, and a comprehensive survey of sound works by international artists from the avant-garde era to the present.
Artists:Marina Abramović, Vito Acconci, Doug Aitken, Maryanne Amacher, Laurie Anderson, John Cage, Kim Cascone, Martin Creed, Paul DeMarinis, Bill Fontana, Kim Gordon, Dan Graham, Ryoji Ikeda, Mike Kelley, Christina Kubisch, Bernhard Leitner, Alvin Lucier, Len Lye, Christian Marclay, Max Neuhaus, Carsten Nicolai, Hermann Nitsch, Yoko Ono, Nam June Paik, Luigi Russolo, Karin Sander, Mieko Shiomi, Michael Snow and Bill Viola