|
Showing 1 - 7 of
7 matches in All Departments
This journal "Source: Music of the Avant-garde" was and remains a
seminal source for materials on the heyday of experimental music
and arts. Conceived in 1966 and published to 1973, it included some
of the most important composers and artists of the time: John Cage,
Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline
Oliveros, Dick Higgins, Nam June Paik, Steve Reich, and many
others. A pathbreaking publication, "Source" documented crucial
changes in performance practice and live electronics, computer
music, notation and event scores, theater and installations,
intermedia and technology, politics and the social roles of
composers and performers, and innovations in the sound of music.
"Earth Sound Earth Signal "is a study of energies in aesthetics and
the arts, from the birth of modern communications in the nineteenth
century to the global transmissions of the present day. Douglas
Kahn begins by evoking the Aeolian sphere music that Henry David
Thoreau heard blowing along telegraph lines and the Aelectrosonic
sounds of natural radio that Thomas Watson heard through the first
telephone; he then traces the histories of science, media, music,
and the arts to the 1960s and beyond. "Earth Sound Earth Signal
"rethinks energy at a global scale, from brainwaves to outer space,
through detailed discussions of musicians, artists and scientists
such as Alvin Lucier, Edmond Dewan, Pauline Oliveros, John Cage,
James Turrell, Robert Barry, Joyce Hinterding, and many others.
Investigating the concepts and material realities of energy
coursing through the arts: a foundational text. This book
investigates energies-in the plural, the energies embedded and
embodied in everything under the sun- as they are expressed in the
arts. With contributions from scholars and critics from the visual
arts, art history, anthropology, music, literature, and the history
of science, it offers the first multidisciplinary investigation of
the concepts and material realities of energy coursing through the
arts. Just as Douglas Kahn's earlier books helped introduce sound
as a category for study in the arts, this new volume will be a
foundational volume for future explorers in a largely uncharted
domain. The modern concept of energy is only two hundred years
old-an abstraction grounded in extraction-but this book takes a
more expansive view. It opens with a clap: the sonic energies in a
ceremony of the indigenous Goolarabooloo people of Australia. Other
chapters explore the energies of photography; responses of artists
in the early twentieth century-including Marcel Duchamp-to
scientific discoveries in electricity and electromagnetism; the
aestheticization of entropy in works by Hans Haacke and Robert
Smithson; free-jazz musician Milford Graves's cross-cultural
engagement with music, science, and spiritualism; energy field
performance; and the self-generating energy of rumor and gossip as
artwork. Contributors include such leading scholars as Linda
Dalrymple Henderson, John Tresch, and Caroline A. Jones. Practicing
artists and students of art history will find Energies in the Arts
an essential work. Contributors Susan Ballard, Jennifer Biddle,
Marcus Boon, Joan Brassil, Steven Connor, Milford Graves, Daniel
Hackbarth, Linda Dalrymple Henderson, Caroline A. Jones, Douglas
Kahn, David Mather, Stephen Muecke, James Nisbet, Daniela
Silvestrin, Michael Taussig, John Tresch, Melissa Warak
"Mainframe Experimentalism" challenges the conventional wisdom that
the digital arts arose out of Silicon Valley's technological
revolutions in the 1970s. In fact, in the 1960s, a diverse array of
artists, musicians, poets, writers, and filmmakers around the world
were engaging with mainframe and mini-computers to create
innovative new artworks that contradict the stereotypes of
"computer art." Juxtaposing the original works alongside scholarly
contributions by well-established and emerging scholars from
several disciplines, "Mainframe Experimentalism" demonstrates that
the radical and experimental aesthetics and political and cultural
engagements of early digital art stand as precursors for the
mobility among technological platforms, artistic forms, and social
sites that has become commonplace today.
"Mainframe Experimentalism" challenges the conventional wisdom that
the digital arts arose out of Silicon Valley's technological
revolutions in the 1970s. In fact, in the 1960s, a diverse array of
artists, musicians, poets, writers, and filmmakers around the world
were engaging with mainframe and mini-computers to create
innovative new artworks that contradict the stereotypes of
"computer art." Juxtaposing the original works alongside scholarly
contributions by well-established and emerging scholars from
several disciplines, "Mainframe Experimentalism" demonstrates that
the radical and experimental aesthetics and political and cultural
engagements of early digital art stand as precursors for the
mobility among technological platforms, artistic forms, and social
sites that has become commonplace today.
An examination of the role of sound in twentieth-century arts. This
interdisciplinary history and theory of sound in the arts reads the
twentieth century by listening to it-to the emphatic and
exceptional sounds of modernism and those on the cusp of
postmodernism, recorded sound, noise, silence, the fluid sounds of
immersion and dripping, and the meat voices of viruses, screams,
and bestial cries. Focusing on Europe in the first half of the
century and the United States in the postwar years, Douglas Kahn
explores aural activities in literature, music, visual arts,
theater, and film. Placing aurality at the center of the history of
the arts, he revisits key artistic questions, listening to the
sounds that drown out the politics and poetics that generated them.
Artists discussed include Antonin Artaud, George Brecht, William
Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow,
Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and
Dziga Vertov.
Wireless Imagination directly addresses what is perhaps the most
conspicuous silence in contemporary theory and art criticism, the
silence that surrounds the polyphonous histories of audio and radio
art. By gathering both original essays and several newly translated
documents into a single volume, editors Douglas Kahn and Gregory
Whitehead provide a close audition to some of the most telling and
soundful moments in the "deaf century", including the fantastic
acoustic scenarios projected through the writings of Raymond
Roussel, the "gap music" of Marcel Duchamp, the varied sonic
activities of the early Russian avant-garde and of French
Surrealism, the language labyrinths constructed by the producers of
New German Horspiel, and the cut-up ventriloquism of William S.
Burroughs. Approaches in the essays vary from detailed historical
reconstructions to more speculative theory, providing a rich chorus
of challenges to the culturally entrenched "regime of the visual".
Supporting documents include F. T. Marinetti's explosive manifesto
on the aesthetics of Futurist radio and the full text of Antonin
Artaud's blistering radio performance, To Have Done with the
Judgment of God. Although the editors stress in their preface that
this book should not be read as a comprehensive Last Word but
rather as an opening to future discourse, Wireless Imagination
certainly offers compelling evidence that the numbing silence
surrounding sound was made to be broken.
|
You may like...
The Child
Alistair Mackay
Paperback
R335
R245
Discovery Miles 2 450
The Party
Elizabeth Day
Paperback
(1)
R323
R215
Discovery Miles 2 150
Joburg Noir
Niq Mhlongo
Paperback
(2)
R553
Discovery Miles 5 530
The Passenger
Cormac McCarthy
Paperback
R365
R285
Discovery Miles 2 850
|