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Tesi sul tema "Sound in art"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 29 luglio 2024

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1

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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Abstract (sommario):

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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2

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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Abstract (sommario):

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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3

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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Abstract (sommario):

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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4

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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5

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

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6

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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Abstract (sommario):

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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7

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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Abstract (sommario):

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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8

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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9

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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Abstract (sommario):

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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10

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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11

Pigott, Jon. "Materials systems and autonomy in electromechanical sound art." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/11587/.

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Abstract (sommario):

Sound art is a difficult to categorise and broad genre description that draws together modes of creative practice which use sound as a medium or a subject. The field is considered to be critically underrepresented and under-theorised despite an increase of attention and popularity since the 1990s (Licht 2007, 2001, Cox 2009). This is partly as a consequence of an analytical and historical emphasis on textual and conceptual approaches which dominated the arts through the 1970s and 1980s (Cox 2011, 2013). In particular, acknowledgement of the influence of object-based and kinetic sculpture withi

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12

De, Conti Diana <1987&gt. "Commistioni tra arte e suono: la Sound Art." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4488.

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La Sound Art si configura come un fenomeno artistico sperimentale presente nell'arte contemporanea. Rappresenta una confluenza interdisciplinare tra arte e musica:principio di comunanaza diviene il suono puro,inteso quale medium espressivo, veicolo di significato e materia plasmabile. Dopo una panoramica introduttiva sulla forma d'arte in questione viene presentato un tracciato storico sulle figure e le opere emblematiche a partire dalle esperienze delle Avanguardie del secolo scorso sino ai nostri giorni.

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13

McGinley, Robin. "Breaking the sound barrier : explorations in experimental sound, art, soundscape research and interactive systems." Thesis, De Montfort University, 2009. http://hdl.handle.net/2086/2395.

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Abstract (sommario):

This study proposes a synthesis between the three core inter-disciplines of sound art, interactive systems and soundscape research as the basis for the creation of a series of unique interactive sound installations and related projects. These works, created and presented by Interactive Agents, the author’s production company, explore aspects of the sonic environment, either in urban or natural locations or in the electro-magnetic domain. The notions of interactivity explored throughout this thesis are of a specialist nature, and the three main installation projects each utilise custom-built so

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14

Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation." Universität Leipzig, 2020. https://ul.qucosa.de/id/qucosa%3A72283.

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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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15

Wenrich, Richard Joseph. "Sound and fury." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/2021.

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16

Apprich, Franziska-Maria. "Film-sound as art : a study of sound in cinema presented in theory and practice." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546002.

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17

Labelle, Brandon. "Background noise : sound art and the resonance of place." Thesis, Birkbeck (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422279.

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18

Bhaugeerutty, Aruna Devi. "Sound art : discourses of definition on the contemporary artworld." Thesis, University of Newcastle upon Tyne, 2018. http://hdl.handle.net/10443/4092.

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Abstract (sommario):

Since the turn of the millennium, the term 'sound art' has gained increasing prominence while generating persistent discussion and debate. This study explores questions surrounding the definition of sound art through an analysis of these discourses. It also applies a Foucauldian notion of discourse to the concept of genre in order to promote a non-essentialist definition of sound art that is pursued through a project of clarification rather than classification. The research draws from a wide range of sources, from online symposia, magazine articles and publications to art exhibitions and their

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19

Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.

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Abstract (sommario):

Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of thei

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20

Hart, Charles J. "Architecture of light and sound." Thesis, This resource online, 1997. http://scholar.lib.vt.edu/theses/available/etd-09092008-063818/.

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21

Cranfield-Rose, James (Brady). "Writing about Six Sounds Works /." Burnaby B.C. : Simon Fraser University, 2005. http://ir.lib.sfu.ca/handle/1892/2327.

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22

Greenlee, Shawn E. "Erratic interpretation: Drawn sound in Augur." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318388.

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Thesis (Ph.D.)--Brown University, 2008.<br>Advisor : Todd Winkler. Includes supplementary digital materials: DVD 1. Audio -- DVD 2. Video. Special graduate studies are in computer music and new media. Includes bibliographical references (leaves 137-146).

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23

Wang, Linlin. "The sounds on the Silk Road from Xi'an to Urumqi. Soundscape, recording and exposition of the sound." Doctoral thesis, Universitat de Barcelona, 2021. http://hdl.handle.net/10803/672184.

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Abstract (sommario):

The main objective of the doctoral thesis is to study the Soundscape in the Chinese route of the Silk Road based on the premises issued in 2003 by the Convention for the Safeguarding of the Intangible Cultural Heritage of UNESCO. In China, no application of this agreement has been used. The research proposed by the doctoral thesis is an important precedent in applying the guidelines concerning the study and preservation of intangible cultural heritage. The Silk Road represents the exchange and integration of Chinese and Western cultures, and its mysterious and remote atmosphere is fascinatin

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24

Wynne, John Peter. "Hearing Voices: Sound Art Practice in a Cross-Cultural Context." Thesis, Goldsmiths College (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485559.

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This dissertation is concerned primarily with the body of workwhich has eme~ged from the author's project with endangered click-languages in the Kalahari Desert. It looks at the development of his sound art practice by tracing the work leading up to Hearing Voices and by discussing the directions it has taken since the completion of that project. Itexamines the dichotomy in contemporary (sound) art betweenwork which deals with ethnic identity and otherness and that which does not and outlines the ways in which the author's practice attempts to bridge this gap. Detailed examination of the socio

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25

Spinks, Tansy. "Associating places : strategies for live, site specific, sound art performance." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8752/.

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Abstract (sommario):

Claims for originality in this thesis lie in bringing together many different disciplines in art, music, sound studies and performance. The methodology, contextually indebted to the dialogues of site specific art, performance, and sound improvisation, has emerged as a multi-disciplinary one, informed in part by the study of those artists from the 1960s onwards who actively sought to resist the gallery system. The practice has driven the thesis in developing and continuously testing the requirement to respond uniquely to chosen sites. By using relevant references, instruments, and sonified mate

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26

Koutsomichalis, Marinos G. "A hypermedia and project-based approach to music, sound and media art." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/11432.

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Abstract (sommario):

This thesis describes my artistic practice as essentially project-based, site-responsive and hypermediating. Hypermediacy—i.e. the tendency of certain media or objects to keep their various constituents separate from their structure—is to be understood as opaque, juxtaposed and after a recurring contiguity with different kinds of interfaces. Accordingly, and within the context of the various projects that constitute this thesis, it is demonstrated how, in response to the particular places I work and to the various people I collaborate with, different kinds of materials and methodologies are in

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27

Beeston, Rob. "The intrigue of travelogue : sound and the social imagination." Thesis, Keele University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250429.

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28

Muir, Pete. "The art of the record producer." Thesis, Queensland University of Technology, 1999.

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Abstract (sommario):

The record producer has played an extensive role in the development of music aesthetics since the 1950's yet has remained virtually anonymous, save for a few notable exceptions. In this time, producers have developed an art form that exists within the design, capture and rendering of sound. This art form is distinct from the music composition and performance and should receive appropriate acknowledgment. This paper identifies the defining factors of art. These elements are explored through theoretical and practical discussions to establish the artistic contributions of the producer. Through

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29

Moraitis, Catherine. "The art of David Lean : a textual analysis of audio visual structure." Thesis, University of Kent, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250344.

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30

Metcalfe, Paul N. "Learning and teaching the art of sound design: An analysis into determining best practices." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/102704/8/Paul_Metcalfe_Thesis.pdf.

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Abstract (sommario):

The aim of this study was to investigate the learning and teaching of sound design in higher education contexts. Two main aspects were examined: firstly, an investigation into published resources, addressing sound design as creative practice, and, secondly, an examination of the relationship between technical process and creative skills development within curriculum design. The perceived educational benefits were also investigated, of collaborative projects and other practical exercises, contrasting them with technical, skills-based learning. Finally, the study suggests avenues for future deve

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31

Gillette, Amy Elizabeth. "Depicting the Sound of Silence: Angel-Musicians in Trecento Sacred Art." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397051.

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Art History<br>Ph.D.<br>The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of “concelebration,” the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blen

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32

Williams, Carolyn. "Drawing from voice an exploration of sound in search of representational codes of the unseen : an exegesis submitted to Auckland University of Technology, Master of Arts (Art & Design), 2007 /." AUT University, 2007. http://hdl.handle.net/10292/136.

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Abstract (sommario):

This project explores the unseen (that which is not considered) in relation to the idea of the existence of another dimension of language. It considers the possibility that, in regard to language, some essential component may have been omitted or unperceived. Through works of art this project explores possibilities for the visual signification of this information. My interest is in exploring ways in which these qualities can be recovered by creating representational codes of the unseen, which evoke a potential for an inclusive language. My enquiry focuses on sound with particular emphasis on '

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33

Rowe, Lois. "The address of spirituality in contemporary art." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.

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The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.

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34

Hollerweger, F. "The revolution is hear! : sound art, the everyday and aural awareness." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546359.

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35

Genevro, Bradley James. "The Art of Recording the American Wind Band." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5276/.

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Wind bands have been recording for over one hundred years. Through advancements in both technology and process, recordings have made a monumental impact on the wind band and its repertoire. These advancements have created clarity regarding the performance practice of pieces and helped to preserve the wind band repertoire. Many early works have gained masterwork status due, in large part, to the fact that recordings have preserved them. The increase in popularity of recording and, in particular, the wind band, warrants an investigation into the various aspects of the process. Additionally,

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36

Hull, Aaron Coates. "Corroded memories." Faculty of Creative Arts, 2009. http://ro.uow.edu.au/theses/3056.

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This thesis seeks to examine the concept of the corroded memory, an idea that has driven the development of a large body of original creative work which includes performances, compact disk recordings, audio walks and video installations. I have completed this work during the last four years of part time study as a Master of Arts - Research student, enrolled at the University of Wollongong, Faculty of Creative Arts.In this thesis I examine, analyse and provide a context for a variety of publicly presented sound andvideo works. The conceptual framework and intent, together with the compositional

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37

Greedy, Paul Maxwell. "Listening to Objects: Sound as an Expression of Material Flux." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18133.

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This research paper examines the use of sound in art as a means to explore processes of movement, transformation, and change as they operate within the physical relationships that exist between energy, matter and space. It situates the author’s own material-based sound art practice in relation to its primary historical and contemporary influences, identifying critical developments in art making that offer creative, conceptual and practical insights into the nature of physical processes. In doing so, the paper locates the origins of sound art within late 20th century sculpture, experimental mus

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38

Bérubé, Gabriel. "Expériences sensibles et design urbain, un projet de recherche création : les productions sonores ordinaires des usagers en espace collectif urbain, le cas des traces sonores de pas." Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENH025/document.

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Dans cette thèse, nous souhaitons explorer la valeur heuristique des sons de pas de l'usager dans l'espace collectif urbain. Cette intention est à l'origine, celle d'un intérêt concernant les productions sonores ordinaires de l'usager, de leurs aspects productifs et actifs à l'intérieur de son expérience quotidienne de la ville. Suite à ce dessein, la notion de trace sonore a été développée afin de mieux saisir, catégoriser et caractériser ces sonorités particulières et ordinaires engendrées par l'usager via ses actions. Souvent ignorées, restant au niveau de l'inconscient de l'usager, les tra

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39

Smuts, Lyn. "The visualization of sound : an investigation into the interplay of the senses in artmaking." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.

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40

Eernstman, Natalia. "Art as a source of learning for sustainable development : making meaning, multiple knowledges and navigating open-endedness." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9197/.

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This research is a practice-based inquiry into the contribution of art to processes in which communities explore, design and proceed on sustainable ways forward. In rejecting an overly technocratic approach, this thesis follows a learning-based conception of sustainable development. Rather than transmitting predetermined solutions, social learning is about establishing a prolific framework of conditions in which people can explore for themselves what is ‘right’, sustainable and desired. Such learning shows important overlaps with art, in that it does not set out to transmit a predetermined mes

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41

Garrelfs, Iris. "From inputs to outputs : an investigation of process in sound art practice." Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8342/.

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This practice-based thesis aims to expand sound art discourse by considering process in sound art practice through an exploration of artists’ experiences. There is still relatively little debate about or critical reflection on the location or nature of process in contemporary sound art’s discourse. This thesis addresses this lack of debate and reflection by developing a framework through which artists can explore and then communicate their perspectives in order to extend sound art discourse. Three key areas emerge from this approach: process, practice and discourse. This thesis investigates ho

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42

PINEL, D. J. "DE JOHN CAGE A JANET CARDIFF, A SOUND ART EM PERSPECTIVA HISTÓRICA." Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/8476.

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Abstract (sommario):

Made available in DSpace on 2018-08-01T23:30:05Z (GMT). No. of bitstreams: 1 tese_10073_dissertação dimitrio pinel.pdf: 23648598 bytes, checksum: 51d9f1c4fdc095b7ad118020978d0c8e (MD5) Previous issue date: 2016-08-10<br>Esta pesquisa discute sobre questões do embate entre o moderno e o contemporâneo, e tentará mostrar como o surgimento da instalação artística tornouse um gênero essencial para as realizações dos artistas que trabalharam o conceito da sound art. Nesse sentido, esta dissertação terá como recorte os movimentos que tiveram grande dimensão nas décadas de 1950 até 1970, como o min

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Oldrini, Eleonora <1988&gt. "Sound Art per il Borgo di Castiglione Olona: un progetto di valorizzazione." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3860.

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Abstract (sommario):

La tesi tratta la progettazione di una mostra di Sound Art inserita nel borgo di Castiglione Olona, un affascinante sito medioevale a pochi passi dalla città di Varese. Le opere sono collocate nei punti cruciali del sito. Esse si pongono in relazione al contesto e ne concorrono alla sua valorizzazione: la contaminazione sensoriale determina nuovi scenari, nuove visioni e quindi nuove memorie che si aggiungono alla conoscenza consolidata del luogo. Il sito diventa quindi cornice di un evento che verrà ad assumere nuove connotazioni. L’elaborato sviluppa le questioni tecniche e gestionali del

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Yuksel, Onur. "A Sound-Based Intervention for The Artistic Encounter." Thesis, Uppsala universitet, Institutionen för informatik och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-329941.

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Abstract (sommario):

Art experience, as an important contributor to intellectual experiences, has been studied by many researchers and philosophers to unearth and enhance certain qualities of it [9,16,21,22]. One of the ways of interpreting profound forms of art experience has been relating it with “flow,” a term that indicates a holistic sensation with the act of total involvement, concentration, intrinsic enjoyment and action-awareness [7]. Previous studies argue that looking at art experience as a form of flow, reveals its structural characteristics and dynamics more clearly, and thereby discuss art experience

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45

Szabo, Moira. "For the love of music : avenues of entry into the world of western art music /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/11342.

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46

Klimas, Matthew L. "Argent Sound Recordings: Multimodal Storytelling." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/795.

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Abstract (sommario):

ARGENT SOUND RECORDINGS explores the integration of visual, written and sonic elements to tell a story. "The Silver Bell," a fairy tale, is delivered through the internet providing users an opportunity to experience and interpret a constructed narrative under the guise of an independent record label website.

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47

Magnus, Cristyn. "Evolutionary sound a non-symbolic approach to creating sonic art with genetic algorithms /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2010. http://wwwlib.umi.com/cr/ucsd/fullcit?p3396736.

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Abstract (sommario):

Thesis (Ph. D.)--University of California, San Diego, 2010.<br>Title from 1st page of PDF file (viewed Mar. 9, 2010). Available via ProQuest Digital Dissertations. Vita. Includes 3 compact discs containing audio examples for the dissertation. Includes bibliographical references: P. 137-142.

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48

Doyle, Kaitlin Cavanaugh. "EXQUISITE MIND, EUPHORIC KNOWING: SOUND, LANGUAGE, AND CONSCIOUSNESS IN EXPERIMENTAL MUSIC AND CONCEPTUAL ART AFTER 1960." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case152293207480721.

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49

Swinney, Warrick. "Practices of Listening: (Re)percussions of Sound, Silences and Censorship from (Post-)Apartheid South Africa." Master's thesis, Faculty of Humanities, 2019. http://hdl.handle.net/11427/30517.

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Abstract (sommario):

This project is situated in the area of sonic art and explores my personal biography in relation to sound, silence, censorship and social control. Using the artistic productions of John Cage, I examine silence as both an object—a recording in a fixed medium—and as a verb directly addressing the question of censorship of the self and of others. The interplay of silencing and silence is expressed in my artistic practice which employs, as audio palate, the silences between the words of significant political speeches from South Africa. As a consequence of this process I have excised all recognizab

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50

Miller, Nolan W. "Athenian Acoustics: A Sonic Exploration." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556289254557967.

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