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Journal articles on the topic 'Sound sculpture'
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1
Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture." Leonardo 41, no. 2 (April 2008): 154–58. http://dx.doi.org/10.1162/leon.2008.41.2.154.
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The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new acoustic meanings.
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Baschet, Francois, and Bernard Baschet. "Sound Sculpture: Sounds, Shapes, Public Participation, Education." Leonardo 20, no. 2 (1987): 107. http://dx.doi.org/10.2307/1578325.
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Martínez-Sala, R., J. Sancho, J. V. Sánchez, V. Gómez, J. Llinares, and F. Meseguer. "Sound attenuation by sculpture." Nature 378, no. 6554 (November 1995): 241. http://dx.doi.org/10.1038/378241a0.
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Walsh, Lorraine. "Sound-Lines." Leonardo 43, no. 5 (October 2010): 502. http://dx.doi.org/10.1162/leon_a_00052.
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Sound-Lines is an interactive sound sculpture composed of sensors that trigger archived sounds and animated words. Our collaborative project, supported by e-MobiLArt (European Mobile Lab for Interactive Media Artists), invites the visitor to engage in a playful exploration of shifting perspectives and perceptual discovery. The collaborating artists are Cliona Harmey (IR), Christine Mackey (IR), Nita Tandon (AU), and Lorraine Walsh (US).
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Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture." Leonardo 20, no. 2 (1987): 143. http://dx.doi.org/10.2307/1578330.
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Keylin, Vadim. "Corporeality of Music and Sound Sculpture." Organised Sound 20, no. 2 (July 7, 2015): 182–90. http://dx.doi.org/10.1017/s1355771815000060.
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This article aims to sketch a theory of sound sculpture, one that would explain the variety of forms this artistic practice might take on and define it in relation to other art forms. My hypothesis is that in order to do this we must focus on the traits of sound sculpture connecting it to music rather than on those separating the two. A useful instrument to analyse this connection is Harry Partch’s concept of corporeal music. In contrast to Western classical music, which he viewed as abstract and devoid of life, Partch envisioned a music that would emphasise the physicality of sound-making and engage the listener on a more visceral level. Investigating a number of works from all parts of the sound sculpture spectrum, I argue that all the various practices that comprise the art form present the core traits of Partch’s musical ideal (physicality of music, audience engagement, and unity of the sonic and the visual) to a substantial extent. Analysing sound sculpture in light of its connection to music brings to the fore a number of musical issues for which this new art form provides a new perspective. Among these are the agency of the composer and the listener, the function and nature of a score, as well as the role of technology in music-making. These issues, along with the general idea of corporeality of music, compose a discourse that transcends the boundaries of different subgenres of sound sculpture, allowing for theorisation of the art form as a whole.
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Emery, Lin, and Robert Morriss. ""Kinesone I": A Kinetic Sound Sculpture." Leonardo 19, no. 3 (1986): 207. http://dx.doi.org/10.2307/1578238.
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Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (August 2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.
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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
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Kuo, Michelle. "Divinations." Programmer, no. 13 (June 29, 2010): 38–55. http://dx.doi.org/10.7202/044039ar.
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The essay “Divinations” focuses on Robert Rauschenberg’s Oracle (1962-1965), a work whose making and display entailed close collaboration between the artist and the engineers Billy Klüver and Harold Hodges, both of Bell Laboratories. The piece stemmed from Rauschenberg’s interest in sound, sculptural form, and radio networks: it housed ten radios and speakers in various sculptural elements constructed from found metal objects, including ducts, window frames, a bathtub, and a car door. Audience members could turn dials that indirectly modified the volume and tuning of the radios. Walking through the sculptural installation, one experienced shifting acoustic, spatial, and visual effects. This text seeks to understand how the interactions between artist and engineers—and between sound sculpture and viewers—engaged systems of industrial and postindustrial production, broadcast radio, and audiovisual reception.
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Sharpe, Leslie. "Beak Disorder: A Sound and Sculpture Installation." Leonardo 51, no. 3 (June 2018): 287–88. http://dx.doi.org/10.1162/leon_a_01535.
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This paper discusses Leslie Sharpe’s sound and sculpture installation project “Beak Disorder,” exhibited at Manizales, Columbia for Balance-Unbalance 2016. The work addresses how anthropogenic climate change may be affecting birds in the Pacific Northwest regions of Canada and the United States. “Beak Disorder” is a project that references an unexplained condition documented in birds in the Northwest of Canada and Alaska called “avian keratin disorder” where the bird’s beak becomes distorted and elongated. The work includes a series of 3D printed distorted beaks as well as a sound piece and web component.
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Nova, Alejandro. "Intervención sonora en una escultura tipo Baschet." H-ART. Revista de historia, teoría y crítica de arte, no. 16 (April 18, 2024): 151–73. http://dx.doi.org/10.25025/hart16.2024.06.
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Some contemporary art practices base their discursive strategy on the amalgamation or mixture of different artistic media; these media are united and/or blended and thereby produce new aesthetic approaches to be experienced by both spectators and performers. This condition of contemporary art compels critics, historians, or writers to navigate certain unknown waters, delving into languages that are sometimes foreign to the visual arts and proper to other artistic media. In 2017, the sound artist Josep Cerdà, heir and successor to a large extent of the sculptural work developed by the Baschet brothers, was in Bogotá running a creative workshop to build a Baschet-type sound sculpture that was later used to create a sound intervention; this essay attempts an historical and aesthetic analysis based on this intervention. Readers are advised to first view and listen to the sound intervention at the following link in order to understand the development of the essay: https://www.youtube.com/watch?v=4FyYm15xGbs
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Worrall, David. "Ros Bandt, Sound Sculpture. Intersections in Sound and Sculpture in Australian Artworks. Craftsman House, Sydney 2001. ISBN 1877004-02-2." Organised Sound 8, no. 2 (August 2003): 229. http://dx.doi.org/10.1017/s1355771803220136.
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Suhendra, Darmiko. "PERSPEKTIF HUKUM ISLAM TENTANG SENI." ASY SYAR'IYYAH: JURNAL ILMU SYARI'AH DAN PERBANKAN ISLAM 2, no. 1 (June 30, 2017): 47–59. http://dx.doi.org/10.32923/asy.v2i1.589.
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Art is defined as the expertise to disclose or express ideas and thoughts a esthetics, including the ability and imagination to realize the creation of objects or the work atmosphere capable of inflicting a sense beautiful. Art is diverse and most of it always questionable in terms of Islamic law. In general, the art divided into two: first, sculpture, painting and drawing. And second, sound art. The main problem in sculpture, painting and drawing is if the object of animate beings, because on the one hand there are numbers of hadith that prohibit making images that are either raised or incurred and three dimensions. While on the other hand it has been commonly done in the community, especially in the natural environment that is fertile and rich with a variety of animals created by God as our State that inspired the artists. In addition, the sculpture on the side can be an expression of sheer beauty, it also has benefits for lessons and so on. Furthermore, sound art is a universal cultural phenomenon, practiced by many nations. In the time of the Prophet himself has been known to sing and play music. In terms of general principles of religious teachings that sound art including mu'amalat dunyawiyyah category. Restrictions on the arts (sculpture, painting, drawing, and sound) for their prudence of Muslims. Prudence was intended that they do not fall to the things that are contrary to the values of Islam which is the focal point at that time. Art as an aesthetic manifestation of the spirit of monotheism and not a waste of money but the art necessary for the improvement of human life, promotion of the dignity and the dignity and refining the soul and the mind. If so the purpose of art, then it is possible that the skill and sunnah favor, not against it.
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Hopkin, Bart. "Comments on "Sound Sculpture: Art, Music, Education and Recreation"." Leonardo 20, no. 2 (1987): 205. http://dx.doi.org/10.2307/1578352.
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Goffe, Tao Leigh, Aparajita Bhandari, Lydia Macklin Camel, Delilah Griswold, Leanna Humphrey, Nusaibah Khan, André Nascimento, et al. "Dirge: Black and Indigenous Hemispheric Burial, A Sound Sculpture." ASAP/Journal 7, no. 3 (September 2022): 463–98. http://dx.doi.org/10.1353/asa.2022.0030.
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HARRISON, JONTY. "Sound, space, sculpture: some thoughts on the ‘what’, ‘how’ and ‘why’ of sound diffusion." Organised Sound 3, no. 2 (August 1998): 117–27. http://dx.doi.org/10.1017/s1355771898002040.
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Sound diffusion – the realtime (usually manual) control of the relative levels and spatial deployment during performance – is one of the most contentious issues in the field of electroacoustic music. There are parts of the world where the practice is virtually unknown; in other places it is the norm and appropriate facilities would be provided as a matter of course for any visiting composer or performer. These ‘local variations’ are not merely ripples on the surface of a standardised performance practice but stem from underlying attitudes to what composition and performance in this medium are about and, ultimately, to a definition of music itself. What follows summarises observations drawn from fifteen years of working with the BEAST concert diffusion system in numerous performance spaces in the UK and Europe, as well as experiencing, both as listener and performer, other systems in Europe and North America. Scientific rigour, in the normally accepted sense of tables of measurements etc., is not my goal – my portable measuring equipment has been my ears, and my conclusions are based on what I have heard.
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Smets, G. J. F., and C. J. Overbeeke. "Scent and Sound of Vision: Expressing Scent or Sound as Visual Forms." Perceptual and Motor Skills 69, no. 1 (August 1989): 227–33. http://dx.doi.org/10.2466/pms.1989.69.1.227.
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This article describes three experiments on the possibility of expressing scent or sound into visual forms made by design engineering students. The hypothesis tested was that people are able to pick up patterns in the energy flow that the students transposed from one perceptual sense to another. In Exp. 1 subjects were given different scents and were asked to choose a sculpture designed according these scents. In Exp. 2 subjects were given different musical pieces and asked to match them with portable cassette players designed according to this music. Exp. 3 was identical to Exp. 2 but different music selections, similar to the ones in Exp. 2, were used. In all three experiments subjects were indeed able to perform the tasks above chance level. Results are discussed within the framework of the theory of direct perception of Gibson.
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Balit, Daniele. "From Ear to Site: On Discreet Sound." Leonardo Music Journal 23 (December 2013): 59–63. http://dx.doi.org/10.1162/lmj_a_00156.
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The notion of discreet sound arises through the encounter of the sonic avant-garde with the post-studio methods of the field of sculpture: a distinctive, situational aesthetics that aspires to relocate, and sometimes to disperse, the listening experience within the varied spaces of everyday life. In sound art, however, there seems a predominant interest in the sounding object as an experience delivered to the audience through indoor modalities. By comparing these two tendencies, this article observes some of the implications for the ways in which we think about the site and modes specific to listening practices.
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OKATAN, Halil İbrahim. "Lirik Şiir Anlayışı ve Nedim’in Bir Gazelinin Lirik Şiir Ölçütleriyle Açıklanması Ölçütleriyle Yorumu." International Journal of Social Sciences 8, no. 33 (March 8, 2024): 586–616. http://dx.doi.org/10.52096/usbd.8.33.37.
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As is it well known, the arts of painting, music, sculpture and architecture are made with materials unique to them. Painting is applied with paint, music with sound, sculpture with materials such as stone, marble or bronze. The material of each is used only in that specific art. Poetry, on the other hand, is an art made with language, our common means of communication which we use every day and always in our daily lives. This situation leads to both convenience and difficulty for literature and especially for the art of poetry. Although architectural arts made of stone and marble survive for centuries, they eventually succumb to the wear and tear of time and decay. Poetry, which finds its expression in the spoken word, lives as long as humanity endures. What makes the art of poetry long-lasting is the magic that exists in the language and the music of the language which appeals to the ear. Elements such as rhyme, radif, internal harmony, repetition of sounds, proportionality, word sequence, appealing to emotions, consisting of common words, which are present in poetry, are parallel to the sounds emitted from musical instruments that we call lyrical. Just as every person likes and enjoys the sound of music, every person likes and enjoys "lyric poetry". Divan poetry or our classical poetry is consistent with the western definition/description of lyric poetry. In this article, lyricism in Divan poetry and a ghazal of Divan poet Nedim will be analyzed according to the conception of lyricism. Keywords: The conception and criteria of lyric poetry, the artistic conception of divan poetry, examples of lyric poetry from divan poets, lyric interpretation of Nedim’s ghazal
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Perloff, Nancy. "Hearing Spaces: David Tudor's Collaboration on Sea Tails." Leonardo Music Journal 14 (December 2004): 31–39. http://dx.doi.org/10.1162/0961121043067226.
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In 1983, David Tudor collaborated with kite artist Jackie Matisse and filmmaker Molly Davies on a six-monitor video piece called Sea Tails: Davies filmed Matisse's underwater kites, and Tudor recorded sea sounds from which he later mixed a score. Using notes and correspondence found at the Getty Research Institute, as well as interviews conducted with Matisse and Davies, the author reconstructs the collaborative process of making Sea Tails. Points of contact between the media of film, sculpture and sound reveal Tudor's postCagean form of collaboration, in which Tudor ceded control over compositional process and performance to outside forces—Matisse and Davies and the reverberation of the performance and sea spaces.
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Lovett/Codagnone and Tom Zook. "Your Hero Is a Ghost, 2010." TDR/The Drama Review 56, no. 3 (September 2012): 2–3. http://dx.doi.org/10.1162/dram_a_00205.
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Stainless steel, wood, conduit, black paint, speakers, sound. Photo by Jason Mandella, courtesy Sculpture Center, New York, and the artists Lovett/Codagnone, an artist team based in New York, have worked together since 1995 using photography, performance, video, sound, and installation. Their ongoing exploration of relations of power, as manifested in explicit cultural signifiers as well as clandestine or unconscious practices, investigates the way power comes to play within social structures (relationships, family) to focus on intimacy and the construction of desire. Recent solo exhibitions: Museo Marino Marini, Florence, 2012; LA><ART, Los Angeles, 2012; September Galerie, Berlin, 2011; Sculpture Center, New York, 2010; Sara Meltzer Gallery, New York, 2009; MoMA PS1, New York, 2007–2008. Their performances have been presented at the ICA Philadelphia (2010); Judson Memorial Church, New York (2010); and the ICA Boston (2007). Their work has been shown in galleries and museums in France, Germany, Italy, and The Netherlands. Supplemental media related to this piece can be found at www.mitpressjournals.org/doi/suppl/10.1162/DRAM_a_00205
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Vallis, Owen, Jordan Hochenbaum, and Jasmin Blasco. "Convergence by the Noise Index." Leonardo Music Journal 24 (December 2014): 38–39. http://dx.doi.org/10.1162/lmj_a_00197.
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The authors explore questions about relationships to information, more specifically how we consume, process and interact with the current deluge of data. This article examines their work in the group the Noise Index: Convergence, a sound sculpture that confronts the viewer with the experience of information saturation, and the line between meaning and noise.
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Sullivan, Marin R. "Sculpture and Sound in the Windy City: Harry Bertoia’s Standard Oil Commission." Public Art Dialogue 9, no. 1 (January 2, 2019): 31–52. http://dx.doi.org/10.1080/21502552.2019.1571820.
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Hudson, Martyn. "Schwitters’s Ursonate and the Merz Barn Wall." Leonardo Music Journal 25 (December 2015): 89–92. http://dx.doi.org/10.1162/lmj_a_00942.
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This paper notes the importance of Kurt Schwitters’s Merz project to the modernist politics and poetics of exile of the 20th century. Placing the sound work of Schwitters within his full Merz project, the author assesses the relations between the Ursonate and the final Merzbau. He discusses three of these relations—collage, found objects and the structures of building materiality in language and sculpture—and presents Schwitters’s work as culminating in a vision of sound and building structures in what Brandon Taylor has called “intrusive new entities” of collage and assemblage that are themselves analogous to the “intrusive new entities” of human material itself.
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Griswold, Erik. "The Piano Mill: Nostalgic Music and Architecture in the Australian Bush." Leonardo Music Journal 27 (December 2017): 53–54. http://dx.doi.org/10.1162/lmj_a_01014.
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The Piano Mill is a tower in the forest of New South Wales designed and purpose-built to house 16 reclaimed pianos. Architect Bruce Wolfe conceived it as a massive sound sculpture incorporating a steampunk look and nineteenth-century acoustical devices. To launch The Mill the author composed a new work, All’s grist that comes to the mill, that responds to the architecture, the natural environment and Australian colonial heritage.
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Stokowy, Robert. "Bill Fontana’s Distant Trains: A documentation of an acoustic relocation." Organised Sound 22, no. 1 (March 7, 2017): 112–21. http://dx.doi.org/10.1017/s135577181600039x.
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Witnessing a sound installation in person offers an opportunity to experience the qualities and elements of a work first hand and in full, multisensory effect. A thorough documentation of an exhibition and the work that goes into it is at the essence of preserving important information for future generations. Though information can be gathered from archives, some works of sound art are only marginally presented in the literature, making it difficult to fully grasp aspects of an artist’s technical, organisational and, most particularly, creative ways of working. Instead, already existing information is often reproduced. Previous documentation regarding Bill Fontana’s Sound Sculpture Distant Trains, exhibited in Berlin in 1984, offers an example of the possible loss of key details. This article aims to present new research findings that will examine and illuminate the full scope of this artistic project.
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Lähdeoja, Otso. "Composing the Context: Considerations on materially mediated electronic musicianship." Organised Sound 23, no. 1 (December 20, 2017): 61–70. http://dx.doi.org/10.1017/s1355771817000280.
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A range of material objects can be transformed into sound emitters by the induction of audio-rate vibration with structure-borne sound drivers. The resulting acoustically activated physical objects offer the possibility to extend the compositional gesture towards the material environment, providing a literal re-reading of Schaeffer’s objet sonore concept. Engaging sound in physical objects ties the creative gesture to its surroundings, grounding the approach in an inherently situated dimension. This article examines the compositional strategies emerging from diffusing sound via physical objects, such as sound spatialisation, audiovisual sculpture and audiotactility in concert setting, illustrated by four case studies of recent aural artwork. On the basis of the case studies, the aesthetic implications of materially mediated aural art are discussed, in relation with the ideal of purity represented by the high-fidelity loudspeaker. While the technological development of the loudspeaker aims for a perfect reproduction of an idealised and autonomous sound, materially mediated sound diffusion merges sound and matter into an agglomerate where the sound can no longer be perceived as an autonomous entity, but rather in relation to its material source. Engaging electronic musicianship in materiality gives rise to a hybrid setting at the interface of the digital, the material and the human, where the context – the environment of sound-emitting objects – becomes an object of composition.
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Zryd, Michael. "História e ambivalência no Magellan de Hollis Frampton." Revista Laika 3, no. 5 (October 26, 2014): 1–28. http://dx.doi.org/10.11606/issn.2316-4077.v3i5p1-28.
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Magellan is the film project that consumed the last decade of Hollis Frampton’s career, yet it remains largely unexamined. Frampton once declared that “the whole history of art is no more than a massive footnote to the history of film”, and Magellan is a hugely ambitious attempt to construct that history. It is a metahistory of film and the art historical tradition, which incorporates multiple media (film, photography, painting, sculpture, animation, sound, video, spoken and written language) and anticipates developments in computer-generated new media
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Dumitriu, Anna, Antti Tenetz, and Dave Lawrence. "Kryolab." Leonardo 43, no. 5 (October 2010): 486–87. http://dx.doi.org/10.1162/leon_a_00045.
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KryoLab is an installation and performance that brings together bioart, ice sculpture and sound, in an investigation of delicate relationships in the Arctic ecosystem. It traces our individual and collective journeys, in terms of investigative art/science research as well as in terms of being part of the experimental European/worldwide collaborative e-MobiLArt project—designed to encourage collaboration with scientists and with artists from other cultural backgrounds and geographic locations. This article briefly describes the KryoLab installation concept itself, and the collaboration process.
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Ritchie, Anna, S. P. Halliday, E. C. Fernie, A. Macquarrie, Colin J. M. Martin, Caroline R. Wickham-Jones, Stephen T. Driscoll, Margaret R. Nieke, and Neil Manson Cameron. "Lecture summaries." Proceedings of the Society of Antiquaries of Scotland 116 (November 30, 1987): 583–92. http://dx.doi.org/10.9750/psas.116.583.592.
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Nine lecture summaries:Holm of Papa Westray: an insight into the Neolithic use of chambered tombsCord rig and early cultivation in the BordersEarly church architecture in the south of ScotlandTorphichen and the Knights of Saint John of JerusalemThe Dartmouth: a 17th-century warship in the Sound of MullThe procurement and use of stone for flaked tools in prehistoric ScotlandPower and authority in Early Historic Scotland: Pictish stones and other documentsLiteracy and power: the introduction and use of writing in Early Historic ScotlandThe Romanesque sculpture of Dunfermline Abbey
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Zryd, Michael. "História e ambivalência no Magellan de Hollis Frampton." Revista Laika 3, no. 5 (October 26, 2014): 81–108. http://dx.doi.org/10.11606/issn.2316-4077.v3i5p81-108.
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Magellan is the film project that consumed the last decade of Hollis Frampton’s career, yet it remains largely unexamined. Frampton once declared that “the whole history of art is no more than a massive footnote to the history of film”, and Magellan is a hugely ambitious attempt to construct that history. It is a metahistory of film and the art historical tradition, which incorporates multiple media (film, photography, painting, sculpture, animation, sound, video, spoken and written language) and anticipates developments in computer-generated new media.
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Knight, Lauren Elizabeth. "‘Creator gave us two ears and one mouth’." Stream: Interdisciplinary Journal of Communication 13, no. 1 (November 5, 2021): 37–50. http://dx.doi.org/10.21810/strm.v13i1.297.
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Acoustic ecology has served as a foundational theoretical field for many sound scholars to understand the soundscape as a signifier for environmental crisis. While sound theorists like R. Murray Schafer and those in the World Soundscape Project have developed ways in which to critically analyze environmental soundscapes, these methods have often excluded Indigenous narratives which offer complex understandings of sound through embodied experience. In this paper I employ a brief description of acoustic ecology, drawing attention to its benefits as a methodological approach to sonic ordering, while also demonstrating the possibilities for expansion of this field when examined in conversation with Canadian Indigenous perspectives and notable sonic activist movements. I address how Indigenous knowledge systems, futurisms, art, and activism can provide critical perspectives within the field of acoustic ecology, which lends well to understanding soundscapes of crisis. I identify a few case studies of sonic forward Indigenous environmental movements which include game design by Elizabeth LaPensée, Rebecca Belmore’s Wave Sound sculpture, and the Round Dance Revolution within the Idle No More movement. In sum, this paper works to bridge the work of acoustic ecology and Indigenous sonic movements to encourage a complex and nuanced relationship to sound, and to explore moments for understanding sonic intersections at the forefront of environmental crisis.
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Balint, Sue. "Into the Woods: Excavated Journal Entries from a Tent East of Peterborough." Canadian Theatre Review 129 (January 2007): 30–33. http://dx.doi.org/10.3138/ctr.129.006.
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R. Murray Schafer’s Patria Cycle is a twelve-part series of musical dramas that represents over thirty years of development and production. During the summer of 2006, I joined a group of artists and researchers in developing a rural site, where Asterion, one part of that cycle, will eventually be staged. Our work camp involved projects ranging from sculpture and gardening to trailblazing and straw bale construction. Living and working on that site,focused on Schafer’s attention to both the natural and composed sound environments, led to the thoughts collected here.1
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Purik, Elsa E., Marina G. Shakirova, Mars L. Akhmadullin, and Vilur R. Shakirov. "The Melody of Form and Space: Music as a Source of Inspiration." ICONI, no. 2 (2020): 97–107. http://dx.doi.org/10.33779/2658-4824.2020.2.097-107.
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The article is devoted to the artistic legacy of Bashkir sculptor Ruslan Nigmatullin, one of the leading masters of contemporary visual arts in the republic. The relatedness of artistic expressive means of music with those in the plastic arts, their expressive elements become more apparent in the comparison of music and abstract art in the process of generation of the artistic image. The authors examine the artist’s oeuvres in the context of the particularity of sculpture as a peculiar art which requires from the viewer the knowledge of the laws of artistic form-generation and an understanding of their language, based on such elements as mass and space. The article presents an analysis of the artist’s works made of stone, metal or wood, while the artist himself sees their source as being connected with music. During the course of his entire artistic path Ruslan Nigmatullin has created sculptures in different directions: realism, decorative plastic and abstract art. The master’s art works, according to the authors of the article, are all unified by an inner figurative idea: when looking at the sculptor’s works it is possible to observe their inherent qualities: contemplation, abstraction and pure sound — natural, ethnic and sometimes purely songrelated, enhancing their relatedness to music. The artist considers one of the sources of his inspiration to be the historical Asian melodies, which share common roots with the ethnic music of the Bashkirs, Kazakhs and Tuvans. The authors provide an analogy between the folk songs of these peoples and their instrumental tunes, the latter being marked with a concise, measured rhythmic structure, and the artist’s works, his ability to create new forms, frequently just as abstract as the melodies with which it is associated.
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Maekawa, Mitsuyoshi, Shinya Hashizume, Yasunori Touma, Yukiko Imai, Hiroaki Seki, and Yoshikatsu Hifumi. "Development of Portable Color Discrimination for the Visually Impaired and Color Blindness." Journal of Robotics and Mechatronics 16, no. 5 (October 20, 2004): 535–44. http://dx.doi.org/10.20965/jrm.2004.p0535.
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The inability to discriminate color is an ongoing problem for the visually impaired and those with color blindness. We propose a portable color discrimination unit that communicates color information to users in verbal messages and sound. The unit states what color the target is and, by scanning its surface, transmits a continuous musical tone corresponding to color variations in the scanned area. The targetive is to make color patterns and the target layout recognizable, requiring 1) colorimetric stability, 2) translation of colorimetric information into an appropriate color name, and 3) setting of a relationship between color and sound. We propose using automated calibration and developed a colorimetric unit with high environmental robustness. Colorimetric data consists of RGB data, which does not lend itself readily to color discrimination, so we developed a way to convert RGB data to 220 color names. To develop easy-to-remember color-sound correspondence, we propose using the Shepard Tone Method, in which Shepard tones are mapped onto color hues. These are combined so users scan a target and hear a continuous sound and, if necessary, a color name, to recognize the target’s overall color pattern, somewhat akin to how a visually impaired person recognizes a sculpture by touching its surface.
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Merkuljev, A. V. "Propebela bogdanovi sp. nov. (Gastropoda, Conoidea, Mangeliidae) - a new species from Chukchi Sea and East Kamchatka." Ruthenica, Russian Malacological Journal 31, no. 1 (January 2, 2021): 1–6. http://dx.doi.org/10.35885/ruthenica.2021.31(1).1.
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In 1990 I.P. Bogdanov provided the new localities for Propebela fidicula - off the Wrangel Island in the Chukchi Sea and off the eastern coast of Kamchatka [Bogdanov, 1990]. These locations were far beyond the known range of this species - from Puget Sound Bay to the Aleutian Islands [Oldroyd, 1927]. Verification of material from the ZIN collection showed that the real Propebela fidicula in Russian waters is found only near the Commander Islands. The shells that Bogdanov identified as Propebela fidicula, belong to a new species. It differs from Propebela fidicula both in sculpture and radular morphology.
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Steen, Carol. "Visions Shared: A Firsthand Look into Synesthesia and Art." Leonardo 34, no. 3 (June 2001): 203–8. http://dx.doi.org/10.1162/002409401750286949.
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The author discusses her experiences as an artist and synesthete. She describes her synesthetic perceptions—her experiences of touch, sound and other sensory input in the form of often strikingly colorful visions. She explains the development of her awareness of her synesthesia and of methods and preferred techniques for communicating these experiences through painting and sculpture, thus allowing her to express what would otherwise not be fully expressible. The author finds that art inspired by synesthesia may convey information of significance to everyone, observing that more general aspects of perception may be illuminated by the study of synesthesia.
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Ryan, Honi. "Coda: Persistence at the End of Civilisation." Coolabah, no. 35 (March 19, 2024): 95–114. http://dx.doi.org/10.1344/co20233595-114.
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Honi Ryan reflects on the theme of the journal, Wounded Landscapes, in a visual essay that traces her series of ecologically centred performative installations Persistence at the End of Civilisation, a body of work about climate migration, produced between 2020–21. It comprises sculpture, painting, photography, video, food, participation, embodiment and movement, research and text; as well as sound, text, and performance pieces made in collaboration with artist Abi Tariq. This body of work grew in response to the megafires that burned in Australia in 2019–20 and brings an urban audience into proximity with the tactile reality of the aftermath of wildfires.
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Massó Castilla, Jordi. "Un cuerpo llena la inmensidad: la palabra y el espacio en la escultura de Jaume Plensa." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 26 (July 2, 2016): 29. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2016261412.
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Un cuerpo llena la inmensidad: la palabra y el espacio en la escultura de Jaume PlensaLa obra de Jaume Plensa (Barcelona, 1955) se ha caracterizado desde sus inicios por un interés hacia lo corporal y hacia lo escritural. Al comienzo, guiado por el propósito de ofrecer una representación del pensamiento como «medida» y «peso», el artista crea unas piezas voluminosas revestidas de textos para reproducir la sonoridad del ámbito inteligible. En sus últimos trabajos, las palabras se convierten en la piel de unas figuras silentes humanoides que suelen dejar ver su interior. Lo que tienen en común estas obras es que hay tras ellas un acto creador semejante al poeta que nombra las cosas por vez primera. En este caso Plensa da origen a un lugar previo a la distinción entre espacio y tiempo en el que el cuerpo y la escritura se confunden. Un «espaciamiento» al que los griegos denominaban chora y que bien podría ser la esencia de la escultura.Palabras clave: Escultura, espacio, tiempo, materia, Estética, Jaume Plensa A Body that Fills Immensity: Word and Space in the sculpture of Jaume PlensaThe work of Jaume Plensa (Barcelona, 1955) has been characterized from the beginning by an interest towards the corporeal and towards the scriptural. At first, guided by the aim of providing a representation of thought in terms of "measure" and "weight", the artist creates voluminous sculptures covered with texts with the intention of reproducing the sound of the intelligible area. In his last works, words become the skin of silent humanoid figures that often reveal its inner self. What these works have in common is that you will find in them a creative act similar to act of a poet naming things for the first time. Plensa makes for a place prior to the distinction between Space and Time. A place where body and writing merge. A «spacing» named chora by the Greeks, and that could be the essence of sculpture.Key words: Sculpture, Space, Time, Material, Aesthetics, Jaume Plensa
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Duffey, M. R. "The Vocal Memnon and Solar Thermal Automata." Leonardo Music Journal 17 (December 2007): 51–54. http://dx.doi.org/10.1162/lmj.2007.17.51.
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A memnonium is a self-actuating system that generates music using solar energy. The name comes from the statue of Memnon, a famous tourist attraction in the Greco-Roman world that was said to emit sound when warmed by the morning sun. The Memnon statue inspired the design of musical automata in later periods, to which there are many historical references. Several intriguing technologies and engineering methods may be well suited for modern memnonium design efforts. However, full realization of solar thermoacoustic and thermokinetic sculpture would likely require deep collaboration between physics, music and other disciplines. In modern times, only a few simple proof-of-concept memnonia have been constructed.
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Spowage, Neal. "Applying Kinaesthetic Empathy and Extended Mind Theory to Invasive and Discreet Instruments in Sound-Based Live Performance." Organised Sound 23, no. 3 (December 2018): 277–85. http://dx.doi.org/10.1017/s1355771818000183.
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I have taken the ambiguous psychology of Kinaesthetic Empathy and the relatively recent ideas that form Extended Mind Theory and re-contextualised them so they are relevant to sound-based live performance. I then used these psychologies as a guidance to investigate how we interact with discreet and invasive instruments by analysing specific examples of performance, sound installation and composition. I have defined ‘invasive and discreet’ by using examples of how these instruments are presented as objects in the context of performance. For example, the way in which an object or system can physically invade, and make use of, the performance space when employing technology and physical sculpture; or how an object or system can interact with the performer through tactility and psychological presence. During the process of defining discreet and invasive instruments I noted that there is no binary differentiation because the instruments denotation is dependent on context, sound palette and how they are interpreted as objects for creative expression by the performer. I concluded that the physicality of invasive instruments gives strength to the presentation of ideas in live performance. This is in opposition to discrete instruments which I argue are better suited to studio production or acousmatic performance.
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Karmanov, Victor. "“Koloboks” of the “forest” Neolithic: Ceramic Handicrafts of Northeast Europe Foragers (Republic of Komi, Russian Federation)." Stratum plus. Archaeology and Cultural Anthropology, no. 2 (April 25, 2023): 105–18. http://dx.doi.org/10.55086/sp232105118.
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The results of a comprehensive study of a rattle from the Vis II settlement and a sculpture of a human head from the Vad I/1 dwelling are published. The artefacts were created with mental design and using complex technical solutions if we compare them with other ceramic figurines of the regional Neolithic. The research is based on data from the visual examination, the spatial analysis of the contexts of the finds, the technical-typological analysis of the ceramics, the X-ray computer tomography, the instrumental measurement of the sound volume and the method of analogies. It is established that these unique artefacts were the parts of assemblages of the 6th and 1st half of the 5th m. BC They are associated with contexts whose sacral significance is undefined now. Uncertainty is an inherent part of archaeological record study and does not allow one to conclude reliably about the function and status of the described artefacts in prehistoric culture. The rattle was made for personal use, probably a child’s toy. The miniature sculpture of a human head was part of a child’s, a ritual or a magical doll. But whatever they were for Neolithic man, today they are illustrations of the early history of our toys.
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Sharma, Gerriet K., Matthias Frank, and Franz Zotter. "Evaluation of Three Auditory-Sculptural Qualities Created by an Icosahedral Loudspeaker." Applied Sciences 9, no. 13 (July 2, 2019): 2698. http://dx.doi.org/10.3390/app9132698.
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The icosahedral loudspeaker (IKO) was previously established as an electroacoustic instrument enabling the musical creation and orchestration of sculptural sound phenomena in the room. This is technically achieved by manipulating the strengths of the available acoustic reflection paths by using the IKO’s acoustic beamforming capabilities. In its use, listeners perceive auditory sculptures whose characterization needs investigation. We present a proposed set of sculptural quality attributes directionality, contour, and plasticity and a series of listening experiments investigating them. The experiments employ documented beam layouts using a selected set of sounds as conditions, and they evaluate the recognizability, perceivable grading, and discernibility of the proposed sculptural qualities.
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Blake Jr., Weston. "Holocene emergence at Cape Herschel, east-central Ellesmere Island, Arctic Canada: implications for ice sheet configuration." Canadian Journal of Earth Sciences 29, no. 9 (September 1, 1992): 1958–80. http://dx.doi.org/10.1139/e92-153.
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Twenty-five radiocarbon age determinations on marine molluscs, basal organic pond sediments, charred remains in archeological sites, and a variety of other materials have allowed the construction of an emergence curve for Cape Herschel, east-central Ellesmere Island (78°35′N, 74°40′W). Only a narrow fringe of land is present between the Prince of Wales Icefield and Smith Sound, yet emergence of the order of 135 m has taken place during the last 8500–8700 radiocarbon years. The highest in situ shells were collected at an elevation of 107.5 m, and ages of 8470 ± 100 BP (GSC-3314) and 8230 ± 70 BP (TO-230) were obtained on this material.The spectacular and fresh-appearing glacial sculpture along both sides of Smith Sound, coupled with the rapid emergence in Holocene time and the fact that the oldest dates on marine shells at the fiord heads to the west are 3000–4000 years younger than those at Cape Herschel, provides convincing evidence that an ice stream filled Smith Sound (> 500 m deep) during the Late Wisconsinan glacial maximum. The Smith Sound Ice Stream drained southward from the Greenland Ice Sheet and the Innuitian Ice Sheet, which were confluent over Kane Basin, and it overrode the top of Pim Island (550 m asl). Massive melt-off of ice must have been occurring at the transition from Pleistocene to Holocene time, and this melting continued until the mid-Holocene, when all investigated outlet glaciers were behind their present positions.
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Lamsdell, James C., Simon J. Braddy, Elizabeth J. Loeffler, and David L. Dineley. "Early Devonian stylonurine eurypterids from Arctic Canada." Canadian Journal of Earth Sciences 47, no. 11 (November 2010): 1405–15. http://dx.doi.org/10.1139/e10-053.
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Two new stylonurine eurypterids are described from the Peel Sound Formation (Early Devonian, Lochkovian) of the northern coast of Prince of Wales Island, Nunavut, Arctic Canada. Associations including pteraspids and ostracodes indicate a fluvial depositional environment. An almost complete stylonurid, Pagea plotnicki sp. nov., is recognized by its large size and lack of vaulting on the carapace, and it provides evidence that Stylonurus and Pagea are sister-taxa. Also, a smaller incomplete rhenopterid assigned to Leiopterella tetliei gen. et sp. nov., is characterized by its broad turbinate carapace and lack of cuticular sculpture. This assemblage provides the first Canadian record of Pagea, and the youngest occurrence of a rhenopterid outside the Rheno-Hercynian Terrane, indicating that these taxa were more geographically widespread than previously supposed.
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Iacobone, Alice. "«Lay it into the open wounds». Art at war in Maria Kulikovska’s performative sculpture." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 16, no. 2 (February 6, 2024): 55–66. http://dx.doi.org/10.36253/aisthesis-14455.
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The paper addresses the work of Ukrainian artist Maria Kulikovska, who resorts to military equipment as artistic materials and to destruction as an artistic method. In the first section, I contextualize Kulikovska’s performative sculpture within art history, claiming that it can be regarded as Destruction Art. In the second section, I turn to Catherine Malabou’s concept of “destructive plasticity” as a philosophical tool of an aesthetics of war, which offers a sound theoretical framework to further understand the implications of Kulikovska’s artistic activity. In the third section, I focus on the main material adopted by Kulikovska, ballistic soap, showing how the artist materially deconstructs inherited dichotomies that keep informing our understanding of wars. By considering the artistic practice of a feminist artist (M. Kulikovska) through the lens of feminist scholarship (K. Stiles, C. Malabou, J. Butler), the paper investigates the relations between war and the arts from a situated perspective.
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Mithen, Steven J. "Ecological Interpretations of Palaeolithic Art." Proceedings of the Prehistoric Society 57, no. 01 (1991): 103–14. http://dx.doi.org/10.1017/s0079497x00004916.
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To describe, let alone explain, the paintings, engravings and sculpture of the Upper Palaeolithic as ‘adaptations’ may sound absurd. These are products of the human mind — a world of symbols and dreams, myths and fantasies. So to suggest that this art can be understood in an ecological framework may strike one as facile. Upper Palaeolithic art is one of the great cultural achievements of human kind. It testifies not only to an immense technical skill but to the human capacity for expressing emotion through the use of line, form and colour. Although we cannot know the meaning of the art, through it we can begin to share the sensitivities of the Palaeolithic hunters to their natural world and the animals of the chase. Like all great art, it transcends the boundaries of time and space to say something fundamental about the human condition — though that ‘something’ is forever elusive. The paintings, engravings and sculpture of the Upper Palaeolithic are indeed the epitome of human creativity. So when faced with either the great bulls of Lascaux or just a scratch upon a broken pebble, surely it must be trivial to invoke notions of adaptation and ecology. After all, is not adaptation solely about the more basic features of human life — the selfish struggle to survive and reproduce — hardly the basis for the fine arts.
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Pokharel, Ramesh. "Developing Trends of Music in the Vedic and Mythological Eras." SIRJANĀ – A Journal on Arts and Art Education 7, no. 1 (September 21, 2021): 60–65. http://dx.doi.org/10.3126/sirjana.v7i1.39352.
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The Vedas are religious texts which inform the religion of Hinduism also known as Sanatan Dharma; meaning eternal order or eternal Path. The Vedic – mythological period is considered to be the golden era in the history of world literature. Not only did the philosophy of the age reach a new pinnacle; but even aspects of music, art, culture, literature, sculpture, religion, and spiritualism were extended to their highest point. Amongst these cultural instruments, Music represents vocal and instrumental sounds combined in such a way as to produce beauty of form, harmony and expression of emotions. During this era music – vocal and instrumental were held in high respect in society. Music had both ritual and secular aspects. Sāmaveda is considered as the root of Vedic music as well as the root of today's south Asian classical music. Sāmagāna was considered as the sound of inspiration for the people of that age. This paper attempts to discuss the musical situations in Vedic and Mythological periods regarding its origin, development, extension and practices in ancient south-eastern i.e. Hindu civilization. The paper also points out why the need and importance of Vedic music in present day society is much more; especially in regards to the adoption of lessons and ethics from Sanatan Hinduism.
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Pallas, Jim. "Century of Light Shines for Twenty-Five Years." Leonardo 50, no. 3 (June 2017): 246–52. http://dx.doi.org/10.1162/leon_a_01151.
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Jim Pallas, an artist who pioneered the use of technology in art, collaborated with computer sage Rene Vega and programmer Randy Mims in 1979 to create Century of Light, one of the earliest interactive public sculptures. In this article, Pallas describes an earlier struggle to incorporate technology into sculpture, the selection process that led to this, his first public commission and the collaborative process. Sited within a pedestrian mall in downtown Detroit, the sculpture sensed viewers’ movements, sounds and light. Unfortunately, the sculpture was located in an ill-conceived plaza. Although the city administration mismanaged the site and allowed the sculpture to be destroyed 25 years later, the electronics and program were rescued and remain intact.
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BHARATHI, Ramaiah Krishna, and Mysore Nagarajan MAMATHA. "Folk Music: An integral part of everyday life in Southern Karnataka." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 13(62), no. 1 (June 20, 2020): 29–38. http://dx.doi.org/10.31926/but.pa.2020.13.62.1.3.
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"India inherits a rich culture and heritage with vivid art forms such as music, dance, architecture, sculpture and painting. It is found from the history in India more than sixty-four forms of art have been identified and nurtured till date. Indian music has greater precedence in the world. Music in primitive days marked their beginning with natural language and sound. Music was considered a means for communicating the feelings and emotions. Thus, the natural way of expressing the music gave rise to folklore which imitated the daily activities through songs sung naturally in native language without support of any specific instruments. India being a county with diversified culture and language has more than 100 local languages for which many does not have scripts. Here an attempt is made to bring few such instances of folk songs describing various instances of daily life in the southern India (Karnataka). Kannada being the communicating language has various variants local to the region of living."