Sound Art

Cover art
PublisherEBM(T)2016
/|__O__||||||||||||\//|_>>||__||| |/////_\/| |/| |/|||||||\/|||||||\|\/|//|_ \|/||||\||||__|| __| /|___ //|||||||/___|////|>|_|/|/| <> |//|/////| |/| |/| || O|//| ||||\|\/|/||/_\ |/||||| \|||//|||// /|____\ ||^|||___|||////| |//|///> <>// \__/|/| _ |/| || |\/| ||||/||||/||___||/|||| \||||//| | /| O ||////\\||/ |////|||/ /__| <> |///// //| |/| |/| || O||/| ||||/||||/|||/| |/|||||\|||//| | /|_____|\_ //\ /////|>||||| | |/// ///| |/| |/||| |//| |// / / / // /////////// // /// /// /// /////// // ///// ///// / / / / // / / / / / // / * / Once we did a trip to Tokyo. //////Iwasstillyoungthen andtheyhad just finished // // /* /// building the new highway. It took the state many centuries and leaders // / ...
Cover art
PublisherPrinted Matter2008
Thesis: The field of sound is the site and the means of the Militant Sound Investigation. Regardless whether analogue or digital, the record gives object form to an undifferentiated field of sound. Through both magnetic particles and binary code, experience enters into the record and becomes available to be repeated and analyzed. What initially sounded like undifferentiated registers acquires through repetition and analysis a different texture of audibility. It is as if need, demand, desire have been rendered concrete. Militant Sound Investigation, simply put, derives from a practice of listening that intervenes upon the presumed fidelity of the audio recording. ...
Cover art
PublisherEBM(T)2015
Boids is an artificial life program, developed by Craig Reynolds in 1986, which simulates the flocking behaviour of birds.The name “boid” corresponds to a shortened version of “bird-oid object”, which refers to a bird-like object. Taking the position of the bird-like object, how does other creatures sound like? The limitation of labelling computer generated species after preexisting ones complicates our relation to the former. Digitally sythesized -oids lost in the deep sea, later found and played back in 2x speed. A group of dead -oids scattered along the timeline. It’s our choice to hear an -oid.
Cover art
PublisherAsia Art Archive2017
Hong Kong–based artist Samson Young moved through various locations in and around AAA by way of a roving sound station— doubling as a bookmobile and deejay booth—to generate a series of public broadcasts. His project AAAFM99.3 invoked classic radio programmes with news announcements, interview segments, and commercials incorporating ambient noise sourced from AAA’s audio collection.
Cover art
Hunger, the third episode of the series Ages of Receivership: On Generous Listening, is based on an online conversation by xwélmexw (Stó:lō/Skwah) artist, curator, writer and Canada Research Chair in Indigenous Arts at Queen’s University Dylan Robinson with Quinn Latimer. Dylan Robinson’s work spans the areas of Indigenous sound studies and public art, and takes various forms, offering him a space to integrate the sonic, visual, poetic, and material that are inseparable in Stó:lō culture. The series Ages of Receivership: On Generous Listening emerges from the spring 2022 Master Symposium at the Institute Art Gender Nature, moderated by ...
Cover art
PublisherBureau2018
AUGUST 2018 AKI SASAMOTO Talking in Circles in Talking (Ice Sound), 11 min. 25 sec. Sound of the installation Talking in Circles in Talking with ice melting over bowls, amplified via homemade microphones.
Cover art
PublisherTalk is Cheap2020
To say that Albie is a multidisciplinary artist shows the paucity of art speak itself. He seems to use whatever tactics are at his disposal. Some of them relate, some of them don’t, although throughout our conversation we seem to find more vectors that connect through work than he was willing to admit to. Albie’s practice seems to be about just doing what seems right and feasible at the moment. He works as a graphic designer, he’s done conceptual audio pieces, one we play here, he’s made and shown sculptures and film and until the recent pandemic has split his ...
Cover art
PublisherBureau2018
MARCH 2018 ALISON KNOWLES California Sandals, from the album Frijoles Canyon, 1992-2001, 4 min. 59 sec. Edited and published by Alison Knowles with collaboration from Joshua Selman and Non Sequitur Foundation.
Cover art
PublisherBureau2018
JANUARY 2018 AMELIA SADDINGTON Open Topic, 2015 Ursula Ofbeats, 2016 Savoir Faire, 2017 More for Cats, 2016 Bergen Bells, 2015 Grosik, 2015
Cover art
OOR Saloon & Killjoys invited four musical and per- formative positions to collaborate in a collective sound performance. The performance-session took place at the publication-launch of Sabian Baumann, Karin Michalski: An Unhappy Archive at the Gallery Mark Müller in Zurich… An Unhappy Evening followed the invitation of the publication to create shared spaces for bad queer feelings and offered an experimental, performative listening-setting, which allowed failures, differences, pauses and interruptions to take place. An Unhappy Evening wanted to find out, how we can listen closely to each other and interact with one another through sonic and performative practices, but without erasing ...
Cover art
PublisherLateral Addition2022
In 2017 I wrote a piece called Constructed Objects. The piece was the first in an ongoing project of imagining composing or making music as a sort of non-linear sculptural/conceptual project. I wanted to envision sounds as if they were material concepts (even found objects) in space that interrelate, resonate, and co-mingle in rooms. I have both ideas of assemblage or montage here as well as modular constructions. I then revisited this idea in 2020 with Correspondences. In that project, I wrote a very simple text score based on the concepts I was thinking about in photographic assemblage sculptures I was creating. Each ...
Cover art
PublisherEditions Mego2014
Articulação sees avant-garde electronic musician Florian Hecker continuing the collaborative work he began with author/philosopher Reza Negarestani on the 2012 album Chimerization. The album’s three lengthy pieces see different manipulations and the electronic processing of human voices reading texts by Negarestani that explore themes of nature and the culture man creates around it, interrupted and often side-lined by Hecker’s blasts of digital noise and skittering, computer-generated mayhem. Opening track “Hinge” features two stereo-panned readings by noted poet and sound artist Joan La Barbara, known for her groundbreaking work with the human voice as instrument. A second, much noisier track breaks ...

We use cookies to improve your experience on our site. Read our privacy policy to learn more. Accept

Join Our Mailing List