The Bloomsbury handbook of sound art /:
"The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitution...
Gespeichert in:
| Weitere Verfasser: | , |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
London [England] :
Bloomsbury Academic,
2020.
|
| Schriftenreihe: | Bloomsbury handbooks.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | "The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories."-- |
| Beschreibung: | 1 online resource (464 pages) : illustrations. |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9781501338823 150133882X 9781501338809 1501338803 9781501338816 1501338811 |
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| 245 | 0 | 4 | |a The Bloomsbury handbook of sound art / |c edited by Sanne Krogh Groth, Holger Schulze. |
| 264 | 1 | |a London [England] : |b Bloomsbury Academic, |c 2020. | |
| 264 | 2 | |a [London, England] : |b Bloomsbury Publishing, |c 2020. | |
| 300 | |a 1 online resource (464 pages) : |b illustrations. | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 505 | 0 | |a Sound Art. The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark) Part I After the Apocalypse. The Desert of the Real as Sound Art 1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsa Aarhus University, Denmark) -- 2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey) -- 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany) -- 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jorgensen, University of Copenhagen, Denmark) Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art 5. "Diam!" (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden) -- 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin ( Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universite Berlin, Germany) -- 7. Four Artistic Journeys i. Pockets of Communities (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia's Institute for Ideas and Imagination, France) ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene iii. When I Close My Eyes Everything Is So Damn Pretty (Can't Do the Thing You Want, Can't Do the Thing You Want, Can't Do the Thing You Want) (Samson Young, Composer and Artist, Hong Kong) iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives (Bob Edrian, Institut Teknologi Bandung, Indonesia) -- 8. Sound Art in East and Southeast Asia. Historical and Political Considerations (Cedrik Fermont, Musician and Independent Scholar, Berlin, Germany , and Dimitri della Faille, University of Quebec, Canada) Part III Come Closer ... Intimate Encounters as Sound Art -- 9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities (Brandon LaBelle, University of Bergen, Norway) -- 10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks (Cathy Lane, University of the Arts, London, UK) -- 11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art (Sabine Feisst and Garth Paine, Arizona State University, USA) -- 12. Intruders Touching You. Intimate Encounters in Audio (Holger Schulze, University of Copenhagen, Denmark) Part IV De-Institutionalize! Institutional Critique as Sound Art 13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal (Sharon Stewart, Utrecht University, the Netherlands) 14. Outside and Around Institutions. Two Artistic Positions i. Working in the Sounding Field (Anne Lockwood, Vassar College, USA) ii. Conversations and Utopias (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA) -- 15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks (Laura Zattra, Francesco Venezze Conservatory of Music, Italy) -- 16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions (Elen Flagge, Queen's University Belfast, Northern Ireland) Part V The Sonic Imagination. Sonic Thinking as Sound Art -- 17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound (Macon Holt, Goldsmiths, University of London, UK) -- 18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound (Sandra Kazlauskaite, Goldsmiths, University of London, UK) 19. "Specific Dissonances." A Geopolitics of Frequency (A lastair Cameron, Independent Scholar, UK, and Eleni Ikoniadou, Royal College of Art, UK) 20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art (Tobias Ewé, University of British Columbia, Canada) Part VI Making Sound. Building Media Instruments as Sound Art 21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art (Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark) -- 22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument (Chris Salter and Alexandre Saunier, Concordia University, Canada) -- 23. The Instrument as Medium. Phonographic Work (Rolf GroAmann, Leuphana University of LAơnenberg, Germany) -- 24. How to Build an Instrument? Three Artistic Positions -- Articles and Interviews i. Membrane. Materialities and Intensities of Sound ( Carla J. Maier, Humboldt University of Berlin, Germany, in Conversation with Marianthi Papalexandri-Alexandri, Cornell University, USA) ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification (Yuri Landman, Academy for Pop Culture, the Netherlands) iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again (Morten Riis, The Royal Academy of Music, Aarhus, Denmark) -- Notes -- References -- Contributors -- Index. | |
| 520 | |a "The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories."-- |c Provided by publisher. | ||
| 650 | 0 | |a Sound installations (Art) |0 http://id.loc.gov/authorities/subjects/sh2003006170 | |
| 650 | 0 | |a Sound in art. |0 http://id.loc.gov/authorities/subjects/sh97001016 | |
| 650 | 0 | |a Art, Modern |y 21st century |x History and criticism. | |
| 650 | 6 | |a Installations sonores (Art) | |
| 650 | 6 | |a Art |y 21e siècle |x Histoire et critique. | |
| 650 | 7 | |a sound installations. |2 aat | |
| 650 | 7 | |a Music. |2 bicssc | |
| 650 | 7 | |a Art, Modern |2 fast | |
| 650 | 7 | |a Sound in art |2 fast | |
| 650 | 7 | |a Sound installations (Art) |2 fast | |
| 648 | 7 | |a 2000-2099 |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 700 | 1 | |a Groth, Sanne Krogh, |e editor. |0 http://id.loc.gov/authorities/names/no2015096005 | |
| 700 | 1 | |a Schulze, Holger, |e editor. |0 http://id.loc.gov/authorities/names/n2001036197 | |
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Datensatz im Suchindex
| DE-BY-FWS_katkey | ZDB-4-EBA-on1139139646 |
|---|---|
| _version_ | 1816882510375682048 |
| adam_text | |
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| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | N - Fine Arts |
| callnumber-label | NX650 |
| callnumber-raw | NX650.S68 B465 2020eb |
| callnumber-search | NX650.S68 B465 2020eb |
| callnumber-sort | NX 3650 S68 B465 42020EB |
| callnumber-subject | NX - Arts in General |
| collection | ZDB-4-EBA |
| contents | Sound Art. The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark) Part I After the Apocalypse. The Desert of the Real as Sound Art 1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsa Aarhus University, Denmark) -- 2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey) -- 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany) -- 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jorgensen, University of Copenhagen, Denmark) Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art 5. "Diam!" (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden) -- 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin ( Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universite Berlin, Germany) -- 7. Four Artistic Journeys i. Pockets of Communities (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia's Institute for Ideas and Imagination, France) ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene iii. When I Close My Eyes Everything Is So Damn Pretty (Can't Do the Thing You Want, Can't Do the Thing You Want, Can't Do the Thing You Want) (Samson Young, Composer and Artist, Hong Kong) iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives (Bob Edrian, Institut Teknologi Bandung, Indonesia) -- 8. Sound Art in East and Southeast Asia. Historical and Political Considerations (Cedrik Fermont, Musician and Independent Scholar, Berlin, Germany , and Dimitri della Faille, University of Quebec, Canada) Part III Come Closer ... Intimate Encounters as Sound Art -- 9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities (Brandon LaBelle, University of Bergen, Norway) -- 10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks (Cathy Lane, University of the Arts, London, UK) -- 11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art (Sabine Feisst and Garth Paine, Arizona State University, USA) -- 12. Intruders Touching You. Intimate Encounters in Audio (Holger Schulze, University of Copenhagen, Denmark) Part IV De-Institutionalize! Institutional Critique as Sound Art 13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal (Sharon Stewart, Utrecht University, the Netherlands) 14. Outside and Around Institutions. Two Artistic Positions i. Working in the Sounding Field (Anne Lockwood, Vassar College, USA) ii. Conversations and Utopias (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA) -- 15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks (Laura Zattra, Francesco Venezze Conservatory of Music, Italy) -- 16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions (Elen Flagge, Queen's University Belfast, Northern Ireland) Part V The Sonic Imagination. Sonic Thinking as Sound Art -- 17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound (Macon Holt, Goldsmiths, University of London, UK) -- 18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound (Sandra Kazlauskaite, Goldsmiths, University of London, UK) 19. "Specific Dissonances." A Geopolitics of Frequency (A lastair Cameron, Independent Scholar, UK, and Eleni Ikoniadou, Royal College of Art, UK) 20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art (Tobias Ewé, University of British Columbia, Canada) Part VI Making Sound. Building Media Instruments as Sound Art 21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art (Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark) -- 22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument (Chris Salter and Alexandre Saunier, Concordia University, Canada) -- 23. The Instrument as Medium. Phonographic Work (Rolf GroAmann, Leuphana University of LAơnenberg, Germany) -- 24. How to Build an Instrument? Three Artistic Positions -- Articles and Interviews i. Membrane. Materialities and Intensities of Sound ( Carla J. Maier, Humboldt University of Berlin, Germany, in Conversation with Marianthi Papalexandri-Alexandri, Cornell University, USA) ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification (Yuri Landman, Academy for Pop Culture, the Netherlands) iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again (Morten Riis, The Royal Academy of Music, Aarhus, Denmark) -- Notes -- References -- Contributors -- Index. |
| ctrlnum | (OCoLC)1139139646 |
| dewey-full | 709.0501 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 709 - History, geographic treatment, biography |
| dewey-raw | 709.0501 |
| dewey-search | 709.0501 |
| dewey-sort | 3709.0501 |
| dewey-tens | 700 - The arts |
| discipline | Kunstgeschichte |
| era | 2000-2099 fast |
| era_facet | 2000-2099 |
| format | Electronic eBook |
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The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark) Part I After the Apocalypse. The Desert of the Real as Sound Art 1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsa Aarhus University, Denmark) -- 2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey) -- 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany) -- 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jorgensen, University of Copenhagen, Denmark) Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art 5. "Diam!" (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden) -- 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin ( Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universite Berlin, Germany) -- 7. Four Artistic Journeys i. Pockets of Communities (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia's Institute for Ideas and Imagination, France) ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene iii. When I Close My Eyes Everything Is So Damn Pretty (Can't Do the Thing You Want, Can't Do the Thing You Want, Can't Do the Thing You Want) (Samson Young, Composer and Artist, Hong Kong) iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives (Bob Edrian, Institut Teknologi Bandung, Indonesia) -- 8. Sound Art in East and Southeast Asia. Historical and Political Considerations (Cedrik Fermont, Musician and Independent Scholar, Berlin, Germany , and Dimitri della Faille, University of Quebec, Canada) Part III Come Closer ... Intimate Encounters as Sound Art -- 9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities (Brandon LaBelle, University of Bergen, Norway) -- 10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks (Cathy Lane, University of the Arts, London, UK) -- 11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art (Sabine Feisst and Garth Paine, Arizona State University, USA) -- 12. Intruders Touching You. Intimate Encounters in Audio (Holger Schulze, University of Copenhagen, Denmark) Part IV De-Institutionalize! Institutional Critique as Sound Art 13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal (Sharon Stewart, Utrecht University, the Netherlands) 14. Outside and Around Institutions. Two Artistic Positions i. Working in the Sounding Field (Anne Lockwood, Vassar College, USA) ii. Conversations and Utopias (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA) -- 15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks (Laura Zattra, Francesco Venezze Conservatory of Music, Italy) -- 16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions (Elen Flagge, Queen's University Belfast, Northern Ireland) Part V The Sonic Imagination. Sonic Thinking as Sound Art -- 17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound (Macon Holt, Goldsmiths, University of London, UK) -- 18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound (Sandra Kazlauskaite, Goldsmiths, University of London, UK) 19. "Specific Dissonances." A Geopolitics of Frequency (A lastair Cameron, Independent Scholar, UK, and Eleni Ikoniadou, Royal College of Art, UK) 20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art (Tobias Ewé, University of British Columbia, Canada) Part VI Making Sound. Building Media Instruments as Sound Art 21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art (Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark) -- 22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument (Chris Salter and Alexandre Saunier, Concordia University, Canada) -- 23. The Instrument as Medium. Phonographic Work (Rolf GroAmann, Leuphana University of LAơnenberg, Germany) -- 24. How to Build an Instrument? Three Artistic Positions -- Articles and Interviews i. Membrane. Materialities and Intensities of Sound ( Carla J. Maier, Humboldt University of Berlin, Germany, in Conversation with Marianthi Papalexandri-Alexandri, Cornell University, USA) ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification (Yuri Landman, Academy for Pop Culture, the Netherlands) iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again (Morten Riis, The Royal Academy of Music, Aarhus, Denmark) -- Notes -- References -- Contributors -- Index.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">"The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. 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| genre | Criticism, interpretation, etc. fast |
| genre_facet | Criticism, interpretation, etc. |
| id | ZDB-4-EBA-on1139139646 |
| illustrated | Illustrated |
| indexdate | 2024-11-27T13:29:45Z |
| institution | BVB |
| isbn | 9781501338823 150133882X 9781501338809 1501338803 9781501338816 1501338811 |
| language | English |
| oclc_num | 1139139646 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (464 pages) : illustrations. |
| psigel | ZDB-4-EBA |
| publishDate | 2020 |
| publishDateSearch | 2020 |
| publishDateSort | 2020 |
| publisher | Bloomsbury Academic, |
| record_format | marc |
| series | Bloomsbury handbooks. |
| series2 | Bloomsbury handbooks |
| spelling | The Bloomsbury handbook of sound art / edited by Sanne Krogh Groth, Holger Schulze. London [England] : Bloomsbury Academic, 2020. [London, England] : Bloomsbury Publishing, 2020. 1 online resource (464 pages) : illustrations. text rdacontent electronic isbdmedia online resource rdacarrier Bloomsbury handbooks Includes bibliographical references and index. Sound Art. The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark) Part I After the Apocalypse. The Desert of the Real as Sound Art 1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsa Aarhus University, Denmark) -- 2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey) -- 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany) -- 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jorgensen, University of Copenhagen, Denmark) Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art 5. "Diam!" (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden) -- 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin ( Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universite Berlin, Germany) -- 7. Four Artistic Journeys i. Pockets of Communities (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia's Institute for Ideas and Imagination, France) ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene iii. When I Close My Eyes Everything Is So Damn Pretty (Can't Do the Thing You Want, Can't Do the Thing You Want, Can't Do the Thing You Want) (Samson Young, Composer and Artist, Hong Kong) iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives (Bob Edrian, Institut Teknologi Bandung, Indonesia) -- 8. Sound Art in East and Southeast Asia. Historical and Political Considerations (Cedrik Fermont, Musician and Independent Scholar, Berlin, Germany , and Dimitri della Faille, University of Quebec, Canada) Part III Come Closer ... Intimate Encounters as Sound Art -- 9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities (Brandon LaBelle, University of Bergen, Norway) -- 10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks (Cathy Lane, University of the Arts, London, UK) -- 11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art (Sabine Feisst and Garth Paine, Arizona State University, USA) -- 12. Intruders Touching You. Intimate Encounters in Audio (Holger Schulze, University of Copenhagen, Denmark) Part IV De-Institutionalize! Institutional Critique as Sound Art 13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal (Sharon Stewart, Utrecht University, the Netherlands) 14. Outside and Around Institutions. Two Artistic Positions i. Working in the Sounding Field (Anne Lockwood, Vassar College, USA) ii. Conversations and Utopias (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA) -- 15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks (Laura Zattra, Francesco Venezze Conservatory of Music, Italy) -- 16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions (Elen Flagge, Queen's University Belfast, Northern Ireland) Part V The Sonic Imagination. Sonic Thinking as Sound Art -- 17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound (Macon Holt, Goldsmiths, University of London, UK) -- 18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound (Sandra Kazlauskaite, Goldsmiths, University of London, UK) 19. "Specific Dissonances." A Geopolitics of Frequency (A lastair Cameron, Independent Scholar, UK, and Eleni Ikoniadou, Royal College of Art, UK) 20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art (Tobias Ewé, University of British Columbia, Canada) Part VI Making Sound. Building Media Instruments as Sound Art 21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art (Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark) -- 22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument (Chris Salter and Alexandre Saunier, Concordia University, Canada) -- 23. The Instrument as Medium. Phonographic Work (Rolf GroAmann, Leuphana University of LAơnenberg, Germany) -- 24. How to Build an Instrument? Three Artistic Positions -- Articles and Interviews i. Membrane. Materialities and Intensities of Sound ( Carla J. Maier, Humboldt University of Berlin, Germany, in Conversation with Marianthi Papalexandri-Alexandri, Cornell University, USA) ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification (Yuri Landman, Academy for Pop Culture, the Netherlands) iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again (Morten Riis, The Royal Academy of Music, Aarhus, Denmark) -- Notes -- References -- Contributors -- Index. "The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories."-- Provided by publisher. Sound installations (Art) http://id.loc.gov/authorities/subjects/sh2003006170 Sound in art. http://id.loc.gov/authorities/subjects/sh97001016 Art, Modern 21st century History and criticism. Installations sonores (Art) Art 21e siècle Histoire et critique. sound installations. aat Music. bicssc Art, Modern fast Sound in art fast Sound installations (Art) fast 2000-2099 fast Criticism, interpretation, etc. fast Groth, Sanne Krogh, editor. http://id.loc.gov/authorities/names/no2015096005 Schulze, Holger, editor. http://id.loc.gov/authorities/names/n2001036197 has work: The Bloomsbury handbook of sound art (Text) https://id.oclc.org/worldcat/entity/E39PCGt6f6mHrcYv9pXjTPkj3P https://id.oclc.org/worldcat/ontology/hasWork Print version: (OCoLC)1119624064 1 Bloomsbury handbooks. http://id.loc.gov/authorities/names/no2020087575 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=2332828 Volltext |
| spellingShingle | The Bloomsbury handbook of sound art / Bloomsbury handbooks. Sound Art. The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark) Part I After the Apocalypse. The Desert of the Real as Sound Art 1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsa Aarhus University, Denmark) -- 2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey) -- 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany) -- 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jorgensen, University of Copenhagen, Denmark) Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art 5. "Diam!" (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden) -- 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin ( Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universite Berlin, Germany) -- 7. Four Artistic Journeys i. Pockets of Communities (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia's Institute for Ideas and Imagination, France) ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene iii. When I Close My Eyes Everything Is So Damn Pretty (Can't Do the Thing You Want, Can't Do the Thing You Want, Can't Do the Thing You Want) (Samson Young, Composer and Artist, Hong Kong) iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives (Bob Edrian, Institut Teknologi Bandung, Indonesia) -- 8. Sound Art in East and Southeast Asia. Historical and Political Considerations (Cedrik Fermont, Musician and Independent Scholar, Berlin, Germany , and Dimitri della Faille, University of Quebec, Canada) Part III Come Closer ... Intimate Encounters as Sound Art -- 9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities (Brandon LaBelle, University of Bergen, Norway) -- 10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks (Cathy Lane, University of the Arts, London, UK) -- 11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art (Sabine Feisst and Garth Paine, Arizona State University, USA) -- 12. Intruders Touching You. Intimate Encounters in Audio (Holger Schulze, University of Copenhagen, Denmark) Part IV De-Institutionalize! Institutional Critique as Sound Art 13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal (Sharon Stewart, Utrecht University, the Netherlands) 14. Outside and Around Institutions. Two Artistic Positions i. Working in the Sounding Field (Anne Lockwood, Vassar College, USA) ii. Conversations and Utopias (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA) -- 15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks (Laura Zattra, Francesco Venezze Conservatory of Music, Italy) -- 16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions (Elen Flagge, Queen's University Belfast, Northern Ireland) Part V The Sonic Imagination. Sonic Thinking as Sound Art -- 17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound (Macon Holt, Goldsmiths, University of London, UK) -- 18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound (Sandra Kazlauskaite, Goldsmiths, University of London, UK) 19. "Specific Dissonances." A Geopolitics of Frequency (A lastair Cameron, Independent Scholar, UK, and Eleni Ikoniadou, Royal College of Art, UK) 20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art (Tobias Ewé, University of British Columbia, Canada) Part VI Making Sound. Building Media Instruments as Sound Art 21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art (Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark) -- 22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument (Chris Salter and Alexandre Saunier, Concordia University, Canada) -- 23. The Instrument as Medium. Phonographic Work (Rolf GroAmann, Leuphana University of LAơnenberg, Germany) -- 24. How to Build an Instrument? Three Artistic Positions -- Articles and Interviews i. Membrane. Materialities and Intensities of Sound ( Carla J. Maier, Humboldt University of Berlin, Germany, in Conversation with Marianthi Papalexandri-Alexandri, Cornell University, USA) ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification (Yuri Landman, Academy for Pop Culture, the Netherlands) iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again (Morten Riis, The Royal Academy of Music, Aarhus, Denmark) -- Notes -- References -- Contributors -- Index. Sound installations (Art) http://id.loc.gov/authorities/subjects/sh2003006170 Sound in art. http://id.loc.gov/authorities/subjects/sh97001016 Art, Modern 21st century History and criticism. Installations sonores (Art) Art 21e siècle Histoire et critique. sound installations. aat Music. bicssc Art, Modern fast Sound in art fast Sound installations (Art) fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh2003006170 http://id.loc.gov/authorities/subjects/sh97001016 |
| title | The Bloomsbury handbook of sound art / |
| title_auth | The Bloomsbury handbook of sound art / |
| title_exact_search | The Bloomsbury handbook of sound art / |
| title_full | The Bloomsbury handbook of sound art / edited by Sanne Krogh Groth, Holger Schulze. |
| title_fullStr | The Bloomsbury handbook of sound art / edited by Sanne Krogh Groth, Holger Schulze. |
| title_full_unstemmed | The Bloomsbury handbook of sound art / edited by Sanne Krogh Groth, Holger Schulze. |
| title_short | The Bloomsbury handbook of sound art / |
| title_sort | bloomsbury handbook of sound art |
| topic | Sound installations (Art) http://id.loc.gov/authorities/subjects/sh2003006170 Sound in art. http://id.loc.gov/authorities/subjects/sh97001016 Art, Modern 21st century History and criticism. Installations sonores (Art) Art 21e siècle Histoire et critique. sound installations. aat Music. bicssc Art, Modern fast Sound in art fast Sound installations (Art) fast |
| topic_facet | Sound installations (Art) Sound in art. Art, Modern 21st century History and criticism. Installations sonores (Art) Art 21e siècle Histoire et critique. sound installations. Music. Art, Modern Sound in art Criticism, interpretation, etc. |
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