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.' - from back cover.
This second edition includes a new chapter on the non-human and subnatural tendencies in sound art, as well as revisions and corrections to the original text.
Includes a bibliography and an index.
Onsite
English
sound art,  art theory,  space
2015
Second
351
9781628923520
1
monograph
Introduction: Auditory Relations
Fade In
Part 1: 4'33': Sound and Points of Origin
Introduction to Part 1
Sociality of Sound: John Cage and Musical Concepts
Exposing the Sound Object: Musique Concrete's Sonic Research
Automatic Music: Group Ongaku's Performative Labors
Part 2: Box with the Sound of its Own Making: From Gags to Scultural Form
Introduction to Part 2
Rhythms of Chaos: Happenins, Environments, and Fluxus
Minimalist Treatments: La Monte Young and Robert Morris
Conceptualizations: Michael Asher and the Subject of Space
Part 3: I am Sitting in a Room: Vocal Intensities
Introduction to Part 3
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
Part 4: Public Supply: Buildings, Construction, and Locational Listening
Introduction to Part 4
Turning Space: Max Neuhas and Site-Specific Sound
Other Architectures: Michael Brewster, Maryanne Amacher, and Bernhard Leitner
Composing Intensities: Iannis Xenakis's Multimedia Architectures
Part 5: Soundmarks: Environments and Aural Geography
Introduction to Part 5
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
Part VI: Global Strings: Interpersonal and Network Space
Introduction to Part 6
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
Appendix: Peripheries - Subnature, Phantom Memory, and Dirty Listening
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