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Background noise : perspectives on sound art / Brandon LaBelle

By: LaBelle, BrandonMaterial type: TextTextPublication details: New York London Continuum International 2006Description: 316 s. illISBN: 0826418457 (pbk. : alk. paper); 0-8264-1844-9 (hardcover : alk. paper)Subject(s): Sound in art | Site-specific art | Performance art | Arts, Modern -- 20th century | Sound sculpture | Sound installations (Art) | Performance art | Ljudkonst | Performance | Konst -- 1945-DDC classification: 786.7 Other classification: 780 | Ib.55
Contents:
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
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Includes bibliographical references 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

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