Background noise : perspectives on sound art / Brandon LaBelle.
Material type:
TextPublication details: New York : Continuum International, 2006.Description: xviii, 316 p. : ill. ; 23 cmISBN: - 0826418457 (pbk.)
- 9780826418456 (pbk.)
- Perspectives on sound art
- 786.7 LAB
| Item type | Current library | Call number | Copy number | Status | Date due | Barcode | |
|---|---|---|---|---|---|---|---|
| Standard Loan | LSAD Library Main Collection | 786.7 LAB (Browse shelf(Opens below)) | 1 | Available | 39002100384230 |
Enhanced descriptions from Syndetics:
Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle's book is informed by spatial thinking - weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expansive history and understanding of sound art.
At its center the book presupposes an intrinsic relation between sound and its location, galvanizing acoustics, sound phenomena, and the environmental with the tensions inherent in what LaBelle identifies as sound's relational dynamic. For the author, this is embedded within sound's tendency to become public expressed in its ability to travel distances, foster cultural expression, and define spaces while being radically flexible.
How does sound embed us within local environments while connecting us to a broader circumference? What consequence does sound art have for notions of spatiality and site-specific practice? Can we engage questions of identity and subjective experience in relation to listening and the resonance of place? Such questions are addressed through consideration of the work of a range of artists, musicians, performers, and composers, including Vito Acconci, Maryanne Amacher, Michael Asher, John Cage, Bill Fontana, Christof Migone, Max Neuhaus, Yasunao Tone, Achim Wollscheid, and Iannis Xenakis.
Intersecting material analysis with theoretical frameworks spanning art and architectural theory, performance studies, and media theory, Background Noise makes the case that sound art should be at the core of contemporary culture.
America's First Women Philosophers is indexed in H.W. Wilson's Essay and General Literature Index.
Includes bibliographical references (p. 299-307) and index.
Introduction: Auditory relations -- Fade in -- Pt. I. 4\'33: sound and points of origin. Sociality of sound: John Cage and musical concepts ; Exposing the sound object: Musique Concrète\'s sonic research ; Automatic music: Group Ongaku\'s performative labors -- Pt. 2. Box with the sound of its own making: from gags to sculptural form. Rhythms of chaos: happenings, environments, and fluxus ; Minimalist treatments: La Monte Young and Robert Morris ; Conceptualizations: Michael Asher and the subject of space -- Pt. 3. I am sitting in a room: vocal intensities. Performing desire/performing fear: Vito Acconci and the power plays of voice ; Finding oneself: Alvin Lucier and the phenomenal voice ; Word of mouth: Christof Migone\'s Little Manias -- Pt. 4. Public supply: buildings, constructions, and locational listening. Tuning space: Max Neuhaus and site-specific sound ; Other architectures: Michael Brewster, Maryanne Amacher, and Bernhard Leitner ; Composing intensities: Iannis Xenakis\'s multimedia architectures -- Pt. 5. Soundmarks: environments and aural geography. Seeking ursound: Hildegard Westerkamp, Steve Peters, and the soundscape ; Language games: Yasunao Tone and the mechanics of information ; Complicating place: Bill Fontana and networking the soundscape -- Pt. 6. Global strings: interpersonal and network space. Interactions: Achim Wollscheid\'s production of the local ; Global events: Atau Tanaka and network as instrument ; Live streams: Apo33 and multiplying place -- Fade out -- Conclusion: Auditive pivot.
Table of contents provided by Syndetics
- Acknowledgements (p. vii)
- Introduction: Auditory Relations (p. ix)
- Fade In (p. xvii)
- Part 1 4'33": Sound and Points of Origin (p. 1)
- Introduction to Part 1 (p. 3)
- Chapter 1 Sociality of Sound: John Cage and Musical Concepts (p. 7)
- Chapter 2 Exposing the Sound Object: Musique Concrete's Sonic Research (p. 24)
- Chapter 3 Automatic Music: Group Ongaku's Performative Labors (p. 35)
- Part 2 Box with the Sound of Its Own Making: From Gags to Sculptural Form (p. 47)
- Introduction to Part 2 (p. 49)
- Chapter 4 Rhythms of Chaos: Happenings, Environments, and Fluxus (p. 54)
- Chapter 5 Minimalist Treatments: La Monte Young and Robert Morris (p. 68)
- Chapter 6 Conceptualizations: Michael Asher and the Subject of Space (p. 87)
- Part 3 I Am Sitting in a Room: Vocal Intensities (p. 99)
- Introduction to Part 3 (p. 101)
- Chapter 7 Performing Desire/ Performing Fear: Vito Acconci and the Power Plays of Voice (p. 108)
- Chapter 8 Finding Oneself: Alvin Lucier and the Phenomenal Voice (p. 123)
- Chapter 9 Word of Mouth: Christof Migone's Little Manias (p. 133)
- Part 4 Public Supply: Buildings, Constructions, and Locational Listening (p. 147)
- Introduction to Part 4 (p. 149)
- Chapter 10 Tuning Space: Max Neuhaus and Site-Specific Sound (p. 154)
- Chapter 11 Other Architectures: Michael Brewster, Maryanne Amacher, and Bernhard Leitner (p. 167)
- Chapter 12 Composing Intensities: Iannis Xenakis's Multimedia Architectures (p. 183)
- Part 5 Soundmarks: Environments and Aural Geography (p. 195)
- Introduction to Part 5 (p. 197)
- Chapter 13 Seeking Ursound: Hildegard Westerkamp, Steve Peters, and the Soundscape (p. 201)
- Chapter 14 Language Games: Yasunao Tone and the Mechanics of Information (p. 218)
- Chapter 15 Complicating Place: Bill Fontana and Networking the Soundscape (p. 230)
- Part 6 Global Strings: Interpersonal and Network Space (p. 243)
- Introduction to Part 6 (p. 245)
- Chapter 16 Interactions: Achim Wollscheid's Production of the Local (p. 251)
- Chapter 17 Global Events: Atau Tanaka and Network as Instrument (p. 267)
- Chapter 18 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)