By Caleb Kelly
The "sonic turn" in fresh paintings displays a much broader cultural know-how that sight now not dominates our belief or realizing of up to date fact. The heritage buzz of myriad robotically reproduced sounds more and more mediates our lives. Tuning into this incessant auditory stimulus, a few of our so much influential artists have investigated the corporeal, cultural, and political resonance of sound. In tandem with contemporary experimental song and know-how, paintings has unfolded to hitherto excluded dimensions of noise, silence, and the act of listening. Artists operating with sound have engaged in new different types of aesthetic come upon with town and nature, the standard and cultural otherness, technological results and mental states. New views on sound have generated a wave of scholarship in musicology, cultural reviews, and the social sciences. however the both vital upward push of sound within the arts due to the fact 1960 has to this point been moderately documented. This quantity is the 1st sourcebook to supply, via unique serious writings and artists' statements, a family tree of sonic pathways into the humanities, philosophical reflections at the meanings of noise and silence, dialogues among artwork and track, investigations of the function of listening and acoustic house, and a finished survey of sound works through foreign artists from the avant-garde period to the current.
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Additional info for Sound (Whitechapel: Documents of Contemporary Art)
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T. Mitchell There Are No Visual Media//2005 ‘Visual media’ is a colloquial expression used to designate things such as television, film, photography and painting, etc. But it is highly inexact and misleading. On closer inspection, all the so-called visual media turn out to involve the other senses (especially touch and hearing). All media are, from the standpoint of sensory modality, ‘mixed media’. The obviousness of this raises two questions: (1) Why do we persist in talking about some media as if they were exclusively visual?
Coe, ‘Breaking through the Sound Barrier’, ARTnews, vol. 70, no. 4 (1971) 44–5; 65–7. Suzanne Delehanty Soundings//1981 […] The transmission of Schwitters’ Ursonate or Archetypal Sounds on German radio in 1932 carried his art to a wider audience and showed, as Marinetti and Bertolt Brecht had demonstrated in the same decade, that radio could be a medium for artists. László Moholy-Nagy used sound in quite another way. In 1922 he ordered works of art by telephone and thereby used the spoken language and modern technology to distance himself from the art object to point out that the artist’s conceptual process is more essential than the materials used to create art.
Cage, I think, inaugurates a shift in music akin to the philosophical shift prompted by Nietzsche, Bergson and Deleuze. For Cage inaugurates a ‘deconstruction of music’; and he does so precisely with reference to becoming, duration and the virtual. 5 Such musical ‘time-objects’ are cut by the composer from the flux of becoming and duration. In contrast with this open flux, these musical works are bounded and fixed in the form of a score that ensures the identity of the work over time and that determinately regulates the behaviour of performers whose role is to carry out the instructions of the composer and score.