Bibliografías temáticas / Sound in art

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Literatura académica sobre el tema "Sound in art"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 29 de julio de 2024

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Artículos de revistas sobre el tema "Sound in art"

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Kelly, Conor. "Sound Art: Seeing Sound." Circa, no. 77 (1996): 29. http://dx.doi.org/10.2307/25563002.

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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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Choi, Jeongeun. "Making Sound Art Sound: Contemporary Sound Art in the Post-Medium Condition." Journal of the Science and Practice of Music 47 (April 30, 2022): 151–93. http://dx.doi.org/10.36944/jspm.2022.04.47.151.

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Groth, Sanne Krogh, and Kristine Samson. "Sound Art Situations." Organised Sound 22, no. 1 (March 7, 2017): 101–11. http://dx.doi.org/10.1017/s1355771816000388.

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This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combi
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Fryberger, Annelies. "Sounds Unheard: Reading a Sound Art Exhibition Catalog." Curator: The Museum Journal 62, no. 3 (July 2019): 415–23. http://dx.doi.org/10.1111/cura.12332.

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Khamdamova, Diloramkhоn. "Voice capabilities of the singer and her hygiene rules." Общество и инновации 4, no. 2/S (February 20, 2023): 206–10. http://dx.doi.org/10.47689/2181-1415-vol4-iss2/s-pp206-210.

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This article provides detailed information about the reforms in our country, the attention paid to the art of music, in particular, the development of the art of singing, the singer’s voice, sounds, sound waves, and types of sound.
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Gagne, Randy. "Sound Containers: Recent Sound Art in Toronto." Senses and Society 4, no. 1 (March 2009): 111–16. http://dx.doi.org/10.2752/174589309x388609.

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Dunn, Alan. "The sound of a sound art archive." Journal of Writing in Creative Practice 7, no. 3 (September 1, 2014): 459–70. http://dx.doi.org/10.1386/jwcp.7.3.459_1.

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Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art." Leonardo 49, no. 1 (February 2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

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Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.
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Hudson, Martyn, and Tim Shaw. "Dead Logics and Worlds: Sound art and sonorous objects." Organised Sound 20, no. 2 (July 7, 2015): 263–72. http://dx.doi.org/10.1017/s135577181500014x.

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From the early experimentation with specific sounds in musique concrète (Palombini 1999) to the ‘anecdotal’ music of Luc Ferrari (1996) and the ecological sound activism of Hildegard Westerkamp (2002), the collecting, composition and recomposition of sonorous objects has been central to sound practice. Some sound art has privileged a relationship with visual arts and the structuring of objects in curated spaces (Licht 2007), others with the sound worlds beyond the exhibition (Schafer 1994). By examining a specific sound art installation, Sound and Seclusion by Tim Shaw, this article reworks th
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Tesis sobre el tema "Sound in art"

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Ouzounian, Gascia. "Sound art and spatial practices situating sound installation art since 1958 /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3291983.

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Thesis (Ph. D.)--University of California, San Diego, 2008.<br>Title from first page of PDF file (viewed May 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references P. 359-373.
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Davies, Shaun, of Western Sydney Nepean University, and Faculty of Visual and Performing Arts. "Sound art and the annihilation of sound." THESIS_FVPA_XXX_Davies_S.xml, 1995. http://handle.uws.edu.au:8081/1959.7/402.

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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, th
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Davies, Shaun. "Sound art and the annihilation of sound." Thesis, View thesis, 1995. http://handle.uws.edu.au:8081/1959.7/402.

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This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, th
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Davies, Shaun. "Sound art and the annihilation of sound /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030902.141711/index.html.

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Penrose, Joshua Adam. "Situating Sound." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1282156333.

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Milano, Omar. "It's a Wonderful Business: The Art of Production Sound." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68016/.

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It's a Wonderful Business: The Art of Production Sound is a documentary film that offers an inside look at what it takes to record the dialog of actors and diegetic sounds on a movie set. This is the job of the production sound crew, in charge of recording the voices of some of the most talented and prominent performers in the motion picture industry. The documentary features interviews with former and current production sound mixers and boom operators from some of the most acclaimed films in the history of cinema. The film also explores the personal demands, the working conditions, and the sa
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Taylor, Jonathan Milo. "ImMApp : an immersive database of sound art." Thesis, University of the Arts London, 2009. http://ualresearchonline.arts.ac.uk/5644/.

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The ImMApp (Immersive Mapping Application) thesis addresses contemporary and historical sound art from a position informed by, on one hand, post-structural critical theory, and on the other, a practice-based exploration of contemporary digital technologies (MySQL, XML, XSLT, X3D). It proposes a critical ontological schema derived from Michel Foucault's Archaeology of Knowledge (1972) and applies this to pre-existing information resources dealing with sound art. Firstly an analysis of print-based discourses (Sound by Artists. Lander and Lexier (1990), Noise, Water, Meat. Kahn (2001) and Backgro
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.

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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key tr
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Gilmurray, Jonathan. "Ecology and environmentalism in contemporary sound art." Thesis, University of the Arts London, 2018. http://ualresearchonline.arts.ac.uk/13705/.

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In recent years, ecological issues have grown to become some of the most significant sociopolitical concerns of our time - something which has been reflected by an explosion in engagement with such issues across every area of arts and culture. Across most major art forms, this trend has been identified, analysed and promoted both by critical studies in the growing field of ecocriticism, and by the curatorial recognition of new 'ecological' genres; however, to date there has been no equivalent ecologically-focused engagement within sound art. This can be recognised as the product of two signifi
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Genevro, Brad. "The art of recording the American wind band." connect to online resource, 2006. http://www.unt.edu/etd/all/May2006/genevro%5Fbradley/index.htm.

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Thesis (D.M.A.)--University of North Texas, 2006.<br>System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 10, 1997, July 17, 1997, Mar, 3, 1998, and Nov. 14, 2005. Includes bibliographical references (p. 40-41).
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Libros sobre el tema "Sound in art"

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Minoru, Hatanaka, and Nozaki Takeo, eds. Sound art: Sound as media. Tokyo: Yoshida Hajimu, 2000.

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Celant, Germano. Art or sound. Milano: Fondazione Prada, 2014.

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Minard, Robin. Sound installation art. Graz, Austria: Institut für elektronische Musik, Hochschule für darstellende Kunst, 1996.

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Keylin, Vadim. Participatory Sound Art. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-6357-7.

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Auinger, Sam, and Erwin Stache. Bonn hoeren: Stadtklangkunst = urban sound art. Bonn: Beethovenstiftung, 2012.

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Ganter, Jo. Drawing sound. Woodstock, NY: Woodstock Byrdcliffe Guild, 2017.

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Film, a sound art. New York: Columbia University Press, 2009.

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Lander, Dan. Sound by artists. Etobicoke, Ont: Charivari Press, 2013.

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Woolman, Matt. Sonic graphics: Seeing sound. London: Thames & Hudson, 2000.

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Albrecht, Hartmut, and Rosina Huth. Lautsprecherei: Re, sound - art - design. Stuttgart: Merz & Solitude, 2007.

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Capítulos de libros sobre el tema "Sound in art"

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Gammel, Marcus. "Sound Art." In Handbuch Sound, 80–84. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05421-0_15.

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Carmona, Susana Jiménez, Carmen Pardo Salgado, and Matthieu Saladin. "Sound Art." In Arts, Ecologies, Transitions, 173–75. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003455523-44.

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Nathanson, Alex. "Sound Art." In A History of Solar Power Art and Design, 118–36. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003030683-6.

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Holmes, Thom. "Captured Sound." In Sound Art, 55–68. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-6.

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Hullfish, Steve. "Sound." In Art of the Cut, 119–36. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003410805-12.

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Holmes, Thom. "Sonification." In Sound Art, 98–104. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-10.

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Holmes, Thom. "Conservation and Documentation of Sound Art." In Sound Art, 112–20. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-12.

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Holmes, Thom. "Acoustic Spaces." In Sound Art, 90–97. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-9.

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Holmes, Thom. "The Sounding Object." In Sound Art, 81–89. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-8.

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Holmes, Thom. "Making Sound Art Accessible." In Sound Art, 121–23. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781315623047-13.

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Actas de conferencias sobre el tema "Sound in art"

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TOOLE, FE. "ART AND SCIENCE IN THE CONTROL ROOM." In Reproduced Sound 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18184.

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DE VRIES, D., and MM BOONE. "WAVE FIELD SYNTHESIS AND ANALYSIS: THE STATE OF THE ART." In Reproduced Sound 2003. Institute of Acoustics, 2023. http://dx.doi.org/10.25144/18189.

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RUMSEY, FJ. "DIRECT ACCESS RECORDING - A SURVEY OF THE STATE OF THE ART." In Reproduced Sound 1988. Institute of Acoustics, 2024. http://dx.doi.org/10.25144/21872.

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Takashi, Ikegami, Oka Mizuki, Maruyama Norihiro, Watanabe Yu, and Matsumoto Akihiko. "Sensing the sound web." In SIGGRAPH Asia 2012 Art Gallery. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2413076.2413084.

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Richards, John D. "Speculative Sound Circuits." In Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.33.

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Fehr, Jonas, and Cumhur Erkut. "Indirection between movement and sound in an interactive sound installation." In MOCO '15: Intersecting Art, Meaning, Cognition, Technology. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2790994.2791016.

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Felician, Rosca. "ORGAN MUSICAL ART AND ITS ELEARNING DIMENSION." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-304.

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One of the most dynamic musical instruments in terms of electronic dimension is concerned and practical possibility to apply in eLearning systems is classical organ. The dynamics of this development started in the 1960s when, for the first time the classical organ in its jazz format was invented in America and then in Europe. Today. building electronic (digital) organs from transistor and lamps with sound generators organs to digital organ has become widely spread. Digital organs have reached extraordinary professional performances in which the sound diversity and natural sounds are copied and
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Georgakopoulou, Nefeli, Makrina Viola Kosti, Sotiris Diplaris, Maurice Benayoun, Antonio Camurri, Beatrice de Gelder, Melanie Wald-Fuhrmann, et al. "ReSilence: Retune the Soundscape of future cities through art and science collaboration." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-58-full-georgakopoulou-et-al-resilence.

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Advances in cognitive science, sensing technologies, the arts and creative industries are paving the way for a deeper understanding of the behaviour of individuals regarding the land/soundscape they live in. Through a symbiotic relationship between artists, scientists and technology experts ReSilence explores the borders between sound and silence in a changing world by producing sound awareness in urban spaces (not only reducing the intensity of noise, but also considering it as energy producer and designing positive sounds, sounds we want to preserve and multiply). More specifically ReSilence
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Borucka, Justyna. "ART OF SPACE � ART IN SPACE, THE ROLE OF SOUND ART IN PUBLIC SPACE." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b41/s15.033.

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Chen, Xiaojie, Yuanchun Shi, and Zhiyong Fu. "Echo Wall: A Sound-driven Media-art." In 2007 2nd International Conference on Pervasive Computing and Applications. IEEE, 2007. http://dx.doi.org/10.1109/icpca.2007.4365447.

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Informes sobre el tema "Sound in art"

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Ryder, Marianne. Forming a New Art in the Pacific Northwest: Studio Glass in the Puget Sound Region, 1970-2003. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1096.

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Carlson, Thomas J. Use of Sound for Fish Protection at Power Facilities : A Historical Perspective of the State of the Art : Phase 1 Final Report. Office of Scientific and Technical Information (OSTI), November 1994. http://dx.doi.org/10.2172/924146.

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Carpenter, Grace. Shenandoah National Park: Acoustic monitoring report, 2016?2017. National Park Service, 2023. http://dx.doi.org/10.36967/2300465.

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This report presents acoustical data gathered by the Natural Sounds and Night Skies Division (NSNSD) at Shenandoah National Park (SHEN) in August?September of 2016 and January?March of 2017. Data were collected at four sites (Figure 1) to provide park managers with information about the acoustical environment, sources of noise , and the existing ambient sound levels within the park. In these deployments, sound pressure level (SPL) was measured continuously every second by a calibrated sound level meter. Other equipment included an anemometer to collect wind speed and a digital audio recorder c
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Meyer, Erik. Cabrillo National Monument: Acoustic monitoring report, 2021. National Park Service, 2024. http://dx.doi.org/10.36967/2303446.

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This study arose from the Cabrillo National Monument (CABR) Resource Stewardship Strategy (RSS), which identified the need for baseline acoustic surveys in the park. One of the RSS stewardship goals was to minimize anthropogenic sounds outside and inside park boundaries to enhance the visitor experience. A Technical Assistance Request (TAR) for natural sounds inventory was submitted to the Natural Sounds and Night Skies Division. Therefore, in May 2021, the NSNSD gathered acoustic data at two sites in CABR to provide park managers with information about the acoustic environment, sources of noi
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Meyer, Erik, and Cathleen Balantic. Minidoka National Historic Site: Acoustic monitoring report, 2022. National Park Service, 2024. http://dx.doi.org/10.36967/2303680.

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This study arose from the Minidoka National Historic Site (MIIN) Technical Assistance Request (TAR; #21332), which identified the need for baseline acoustic surveys to understand potential impacts to the acoustic environment from nearby proposed renewable energy development. From September through October 2022, the Natural Sounds and Night Skies Division (NSNSD) gathered acoustic data at one site in MIIN to provide park managers with baseline information about the acoustic environment, including existing ambient sound levels and time-above noise effect levels. Overall, existing median ambient
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Job, Jacob. Mesa Verde National Park: Acoustic monitoring report. National Park Service, July 2021. http://dx.doi.org/10.36967/nrr-2286703.

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In 2015, the Natural Sounds and Night Skies Division (NSNSD) received a request to collect baseline acoustical data at Mesa Verde National Park (MEVE). Between July and August 2015, as well as February and March 2016, three acoustical monitoring systems were deployed throughout the park, however one site (MEVE002) stopped recording after a couple days during the summer due to wildlife interference. The goal of the study was to establish a baseline soundscape inventory of backcountry and frontcountry sites within the park. This inventory will be used to establish indicators and thresholds of so
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Mills, Kathy, Elizabeth Heck, Alinta Brown, Patricia Funnell, and Lesley Friend. Senses together : Multimodal literacy learning in primary education : Final project report. Institute for Learning Sciences and Teacher Education, Australian Catholic University, 2023. http://dx.doi.org/10.24268/acu.8zy8y.

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[Executive summary] Literacy studies have traditionally focussed on the seen. The other senses are typically under-recognised in literacy studies and research, where the visual sense has been previously prioritised. However, spoken and written language, images, gestures, touch, movement, and sound are part of everyday literacy practices. Communication is no longer focussed on visual texts but is a multisensory experience. Effective communication depends then on sensory orchestration, which unifies the body and its senses. Understanding sensory orchestration is crucial to literacy learning in t
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Rutledge, Annamarie, and Leslie (Leslie Alyson) Brandt. Puget Sound Region. Houghton, MI: USDA Northern Forests Climate, June 2023. http://dx.doi.org/10.32747/2023.8054016.ch.

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As the climate changes over the 21st century, the Puget Sound region's urban forest will be impacted by changing temperatures and precipitation regimes, leading to implications for the people who depend on its ecosystem services. This report summarizes climate change projections for the Puget Sound region and provides an assessment of tree species vulnerability in the region. We used projected shifts in plant hardiness and heat zones to understand how tree species of interest are projected to tolerate future conditions. We also assessed the adaptability of planted trees to stressors such as dr
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Valdes, James R., and Heather Furey. WHOI 260Hz Sound Source - Tuning and Assembly. Woods Hole Oceanographic Institution, April 2021. http://dx.doi.org/10.1575/1912/27173.

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Sound sources are designed to provide subsea tracking and re‐location of RAFOS floats and other Lagrangian drifters listening at 260Hz. More recently sweeps have been added to support FishChip tracking at 262Hz. These sources must be tuned to the water properties where they are to be deployed as they have a fairly narrow bandwidth. The high‐Q resonator’s bandwidth is about 4Hz. This report documents the tuning, and provides an overview of the sound source assembly.
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Meyer, Erik. Craters of the Moon National Monument and Preserve: Acoustic monitoring report, 2017. National Park Service, 2024. http://dx.doi.org/10.36967/2303262.

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This study arose from the Craters of the Moon National Monument and Preserve (CRMO) Resource Stewardship Strategy (RSS), which identified the need for baseline acoustic surveys in the park. Short-term natural soundscape RSS goals were to identify the condition of the acoustic resource, and the high priority stewardship activity associated with this goal was to collect baseline acoustic data. Therefore, from June?September 2017, the Natural Sounds and Night Skies Division (NSNSD) gathered acoustical data at six sites in CRMO to provide park managers with information about the acoustical environ
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