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Artículos de revistas 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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1

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

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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Fiebig, Gerald. "Acoustic Art Forms in the Age of Recordability." Organised Sound 20, no. 2 (July 7, 2015): 200–206. http://dx.doi.org/10.1017/s1355771815000084.

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Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic

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12

Schwartz, Arman. "Musicology, Modernism, Sound Art." Journal of the Royal Musical Association 139, no. 1 (2014): 197–200. http://dx.doi.org/10.1017/s0269040300013372.

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13

Lønstrup, Ansa. "Facing sound – voicing art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.

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This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual

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14

Waller, Steven J. "Sound and rock art." Nature 363, no. 6429 (June 1993): 501. http://dx.doi.org/10.1038/363501a0.

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15

Flø, Asbjørn Blokkum. "Materiality in Sound Art." Organised Sound 23, no. 3 (December 2018): 225–34. http://dx.doi.org/10.1017/s1355771818000134.

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This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding the resurgence of kinetics in sound art. The first part of this article studies the historical narratives of materiality in sound art, while the second part investigates materiality in my own works as more contemporary examples. Here the text tu

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16

Gossweiler, Peter Francis C. "Sound art with Hertz." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2614. http://dx.doi.org/10.1121/1.5014572.

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17

Fraisse, Valérian, Nadine Schütz, Catherine Guastavino, Marcelo Wanderley, and Nicolas Misdariis. "Informing sound art design in public space through soundscape simulation." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 265, no. 4 (February 1, 2023): 3015–24. http://dx.doi.org/10.3397/in_2022_0424.

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Urban sound management often amounts to reducing sound levels with the underlying assumption of sound/noise as a nuisance. However, a reduction in sound level does not necessarily lead to a more pleasant auditory experience, especially in urban public spaces where vibrancy can be sought after. A proactive design approach that accounts for the human experience of sound environment is needed to improve the quality of urban spaces. Recent studies in soundscape research suggest that added sound and particularly sound art installations can have a positive influence on public space evaluations. Yet,

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18

Ambun Suri Afdi, Tania Libristina, and Sri Indah Indriani. "The Art of Diagnosis from Breath Sound: A Literature Review." Bioscientia Medicina : Journal of Biomedicine and Translational Research 8, no. 3 (December 21, 2023): 4136–44. http://dx.doi.org/10.37275/bsm.v8i3.943.

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Breath sounds provide relevant information related to lung abnormalities. It is often difficult to differentiate between breath sounds, this is due to the different characteristics of each breath sound. Differentiating the types of breath sounds is crucial in making an accurate diagnosis. Breath sounds are divided into normal breath sounds and abnormal (additional) breath sounds. Normal breath sounds are sounds that originate from the chest wall, such as tracheal, bronchial, bronchovesicular and vesicular breath sounds. Meanwhile, abnormal (additional) breath sounds are breath sounds that indi

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19

Santoso, Iwan Budi, and Wahyu Purnomo. "Pelatihan Sound System Bagi Anggota Sanggar Kandang Seni Jabung Magetan." Abdi Seni 14, no. 1 (August 4, 2023): 91–102. http://dx.doi.org/10.33153/abdiseni.v14i1.5082.

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The artwork community service program was carried out at the Kandang Seni Jabung studio, Jabung Village, Panekan District, Magetan Regency, in the form of workshops/training activities on the use of a sound system to create an album of Jaranan Art Accompaniment Music (Reog) in Magetan Style. Workshops/training activities at the Kandang Seni Jabung art studio use the lecture method and practices of operating sound system equipment. The final result of this artwork community service is to create reliable artists and/or sound-engineer artists to make the music album of the Jaranan Art Accompanime

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20

Andueza Olmedo, María. "AN ELUCIDATION OF PUBLIC SOUND ART THROUGH A NON-SONOROUS TRADITION." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 44–60. http://dx.doi.org/10.7146/se.v2i1.5253.

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The origins of sound art are usually traced to previous sonorous artistic manifestations such as futurism or fluxus (see Labelle, 2006; Kahn, 1999). However, in non-sonorous manifestations it is also possible to appreciate some features of sound art that go beyond the dominant role that sound plays. By adding to the topic of sound art essential notions of temporality, spatial construction and social recognition, the emergence of a sonorous artistic practice which goes beyond the mere use of sound is revealed. In this sense, research in public sound art, which is the primary topic of this paper

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21

van Holsbeeck, Marnix. "Fury over sound." Arthritis Care & Research 51, no. 6 (December 8, 2004): 877–80. http://dx.doi.org/10.1002/art.20835.

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22

Schonberg, Lisa, Érica Marinho do Vale, Tainara V. Sobroza, and Fabricio Beggiato Baccaro. "Cryptic insect soundscapes: Ecological sound art as a prompt for auralization." Technoetic Arts 21, no. 2 (October 1, 2023): 285–300. http://dx.doi.org/10.1386/tear_00115_1.

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Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes e

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23

Lewis, Matt. "Ventriloquial Acts: Critical Reflections on the Art of Foley." New Soundtrack 5, no. 2 (September 2015): 103–20. http://dx.doi.org/10.3366/sound.2015.0073.

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24

Wright, Alison. "Festival: The art of sound." Nature Physics 8, no. 6 (May 30, 2012): 441. http://dx.doi.org/10.1038/nphys2349.

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25

d’Escriván, Julio. "Sound Art (?) on/in Film." Organised Sound 14, no. 01 (March 26, 2009): 65. http://dx.doi.org/10.1017/s1355771809000090.

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26

Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.

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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds t

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27

Tugulov, Utkir. "Sound Capabilities In Traditional Performance." American Journal of Social Science and Education Innovations 03, no. 03 (March 25, 2021): 190–96. http://dx.doi.org/10.37547/tajssei/volume03issue03-26.

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28

Klein, Georg. "Site-Sounds: On strategies of sound art in public space." Organised Sound 14, no. 01 (March 26, 2009): 101. http://dx.doi.org/10.1017/s1355771809000132.

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29

Abd Wahab, Alia Farahin, and Khairunnisa Diyana Md Noor. "From Forest to a Song; A Process of Extracting the Soundscape of Nature into Art Songs." Formosa Journal of Applied Sciences 1, no. 3 (August 30, 2022): 285–92. http://dx.doi.org/10.55927/fjas.v1i3.1080.

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The art song is a genre performed mainly by piano and voice. This paper is about the process and the inspirational factor of creating art songs based on the Malaysian urban soundscape. The composer talks about the understanding of the sound and the process of recording certain inspirational sounds, transcribing them, and creating them into a motive. The soundscape chosen by the composer is also a contributing factor to the whole structure and meaning of the song. These motives that have been interpreted based on the recordings are then expanded and made into an art song. There are a few import

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30

Nakagawa, Katsushi, and Tomotaro Kaneko. "A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan." Leonardo Music Journal 27 (December 2017): 82–86. http://dx.doi.org/10.1162/lmj_a_01024.

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This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.

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31

Vandsoe, Anette. "Listening to the world. Sound, Media and Intermediality in Contemporary Sound Art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 1, no. 1 (December 2, 2011): 67–81. http://dx.doi.org/10.7146/se.v1i1.4071.

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One of the newer tendencies in contemporary sound art is the use of scientific modes of data collection through laboratory set ups or field recordings, as it is for instance seen in media artist Anne Niemetz' and nano-scientist Andrew Pelling's The Dark Side of the Cell (2004) or Katie Egan and Joe Davies Audio Microscope (2000). This article tries to describe how the sound experience is conditioned by such art projects. The main argument in the article is that in such art projects we are not just experiencing ‘the world’, ‘the sound’, ‘the technology’ or ‘the listening’ but the mediating gest

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32

Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation." International Journal of Homiletics 4, no. 1 (October 1, 2020): 74–87. http://dx.doi.org/10.21827/ijh.2020.39506.

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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from

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33

Hand, Brian. "Public Art Indoors: Sound and Art in Public Spaces." Circa, no. 88 (1999): 42. http://dx.doi.org/10.2307/25563399.

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34

Engström, Andreas, and Åsa Stjerna. "Sound Art or Klangkunst? A reading of the German and English literature on sound art." Organised Sound 14, no. 01 (March 26, 2009): 11. http://dx.doi.org/10.1017/s135577180900003x.

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35

Mustaqim, Ahmad. "Kemajuan Seni Suara Dalam Tradisi Bani Umayyah." Islamijah: Journal of Islamic Social Sciences 2, no. 3 (August 15, 2023): 132. http://dx.doi.org/10.30821/islamijah.v2i3.17081.

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<p>This study is entitled about the Progress of Sound Art in the Bani Umayyah Tradition, the focus of this research is the beginning of the tradition of sound art in theBani Umayyah , the initiator of the art of music and the existence of the genre of sound art and the culmination of the progress of sound art. This research is a historical research using a historical approach and data corruption data that leads to the interpretation of the interpretation of the facts as a whole. And the method used in this research is the Library Reserch method which takes data from books, journals, and

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36

Keylin, Vadim. "Crash, boom, bang." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (January 22, 2020): 98–115. http://dx.doi.org/10.7146/se.v9i1.118243.

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Audience participation is a prominent thread running through much of sound art practice, yet it remains largely absent from the sound art scholarship. In this article, I argue that the most widespread methodologies employed in sound art research – roughly split into the phenomenological branch and the object-oriented branch – are ill equipped to tackle the questions of sociality and participation. Instead, I offer a framework for the study of participation in sound art – and, more broadly, for sound aesthetics in general – rooted in the pragmatist tradition. My starting point is John Dewey’s c

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37

Napolitano, Domenico, and Luigi Maria Sicca. "Organizing In Sound: Sound Art and the Organization of Space1." STUDI ORGANIZZATIVI, no. 2 (December 2021): 93–120. http://dx.doi.org/10.3280/so2021-002004.

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Starting from the assumption that music and sou"sound art" in the framework of organization studies. The paper takes the steps from the consideration proposed by sound artists and theorists that sound is not only an aesthetic object but a ‘relational medium', in which and through which social knowledge and organizational dynamics deploy. Since sound is fundamentally inseparable from space, we refer to scholarship on the organization of space and organizational aesthetics in order to show the connection between sensorial, perceptual and socio-material aspects in organizing. We explore this topi

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38

PARDO, CARMEN. "The Emergence of Sound Art: Opening the Cages of Sound." Journal of Aesthetics and Art Criticism 75, no. 1 (January 2017): 35–48. http://dx.doi.org/10.1111/jaac.12340.

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39

Hofer, Sonya. "‘Atomic’ Music: Navigating experimental electronica and sound art through microsound." Organised Sound 19, no. 3 (November 13, 2014): 295–303. http://dx.doi.org/10.1017/s1355771814000284.

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This paper looks at microsound – an emergent term, corresponding concept and associated genre of experimental electronica appearing in the late 1990s – which animates the idea of sound as material entity, and, as I will demonstrate, ultimately complicates and expands questions concerning disciplinary boundaries. The conceptualisation of sounds as having mass or as matter, particularly on an imagined ‘atomic’ level as is implicit in microsound, has had many historical antecedents, especially in the twentieth century. However, the comparison, representation and analogy of sound as an object of m

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40

Gilmurray, Jonathan. "Ecological Sound Art: Steps towards a new field." Organised Sound 22, no. 1 (March 7, 2017): 32–41. http://dx.doi.org/10.1017/s1355771816000315.

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The years since the turn of the millennium have seen an increasing number of sound artists engaging with contemporary environmental issues such as biodiversity loss, sustainability and climate change through their work, forming a growing movement of environmentally concerned sound art; however, their work has yet to achieve the recognition enjoyed by comparable environmentalist practices in almost every other art form. This article argues that this increasingly significant area of sound arts practice should be recognised as a distinct field in its own right, and proposes that it be termed ‘eco

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41

Birtwistle, Andy. "Photographic Sound Art and the Silent Modernity of Walter Ruttmann's Weekend (1930)." New Soundtrack 6, no. 2 (September 2016): 109–27. http://dx.doi.org/10.3366/sound.2016.0086.

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42

heon, laura. "in your ear: hearing art in the twenty-first century." Organised Sound 10, no. 2 (August 2005): 91–96. http://dx.doi.org/10.1017/s1355771805000725.

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over the past century, an art form has emerged between the realms of visual art and music. created by composers and sculptors, ‘sound art’ challenges fundamental divisions between these two sister arts and may be found in museums, festivals or public sites. works of sound art play on the fringes of our often-unconscious aural experience of a world dominated by the visual. this work addresses our ears in surprising ways: it is not strictly music, or noise, or speech, or any sound found in nature, but often includes, combines and transforms elements of all of these. sound art sculpts sound in sp

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43

Plotnikov, I. I. "Утраченные и обретённые музыкальные жанры, формы и образы, как наследие замечательного композитора Эдуарда Николаевича Артемьева". Studia Culturae, № 54 (3 квітня 2023): 128. http://dx.doi.org/10.31312/2310-1245-2022-54-128-137.

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This article discusses listening to music suitable for sound perception and the associated changes in paradigms or ways of thinking that so often occur when we move from visual to auditory perception. The distinction between historically accepted and rejected sounds is used to show how the placement of sounds in our subconscious has shaped the form of listening in life. The experimental music of the 20th century, especially the music and reflections of Eduard Artemyev, opened the doors to our subconsciousness with the synthetics of sound, and at the same time weakened the visual paradigm of in

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44

Wang, Yawen. "Study of sound art in logo design in the context of new media." BCP Social Sciences & Humanities 20 (October 18, 2022): 235–39. http://dx.doi.org/10.54691/bcpssh.v20i.2208.

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New media is a form of communication that uses digital technology to provide information and services to users through computer networks, wireless communication networks and other channels. With the rapid development of new media, the form and communication of art design has changed, and logo design has started to develop from the previous two-dimensional to three-dimensional, and incorporated sound art to form sound logos, which belong to a kind of sound trademark, and the types of such sound logos are very extensive, including corporate sound logos, product sound logos, film and television s

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45

Møstad, Vincent. "Sound system aesthetics in contemporary art." Interactions: Studies in Communication & Culture 9, no. 1 (April 1, 2018): 45–59. http://dx.doi.org/10.1386/iscc.9.1.45_1.

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46

Pezanoski-Browne, Alison. "The Tragic Art of Eco-Sound." Leonardo Music Journal 25 (December 2015): 9–13. http://dx.doi.org/10.1162/lmj_a_00925.

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In this article, the author analyzes the work of two artists, Miki Yui and Jana Winderen, who respond to unprecedented ecological change by using nature field recordings as the foundational element of their compositions and installations. Their works replicate environmental dissolution and dislodge listeners from the habits and assumptions of everyday life. The author draws upon the work of sociologist Henri Lefebvre, defining rhythmanalysis, the everyday, and, in Lefebvre’s words, the “dialectical dynamic between tragedy and daily life.”

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47

Collins, Nicolas. "Introduction: The Politics of Sound Art." Leonardo Music Journal 25 (December 2015): 1–2. http://dx.doi.org/10.1162/lmj_e_00922.

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48

Licht, Alan. "Sound Art: Origins, development and ambiguities." Organised Sound 14, no. 01 (March 26, 2009): 3. http://dx.doi.org/10.1017/s1355771809000028.

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49

Cox, Christoph. "Sound Art and the Sonic Unconscious." Organised Sound 14, no. 01 (March 26, 2009): 19. http://dx.doi.org/10.1017/s1355771809000041.

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50

Demers, Joanna. "Field Recording, Sound Art and Objecthood." Organised Sound 14, no. 01 (March 26, 2009): 39. http://dx.doi.org/10.1017/s1355771809000065.

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