Index of Titles Filed Under 'Sound Art'

PublisherBureau2017
JUNE 2017 WOJCIECH BAKOWSKI KOT ‘Intro’ Album: „Kły” / ‘Fangs’ 2007 Label: Pinkpunk Music: Wojciech Bakowski KOT „Kły” / ‘Fangs’ Album: „Kły” 2007 Label: Pinkpunk Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Ściana” / ‘The wall’ Album: „Kształt” / ‘Shape’ 2010 Label: Bocian records Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Widok pokoju” / ‘View of the room’ Album: „Telegaz” / ‘Tv – prog’ 2014 Label: Dunno recordings Music and lyrics: Wojciech Bakowski Wojciech Bakowski “Ciemno” / ‘Darkness’ 2008 Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Zasypianie z nerwów 2” / ‘Falling asleep out of anxiety 2’ Album: „Telegaz” / ‘Tv – prog’ 2014 Label: Dunno recordings Music and lyrics: Wojciech Bakowski Wojciech Bakowski „Ukrycie w rogu szósej planszy” / ‘Hide out in the corner of level 6’ Album: „Duchy kotów” / ...
PublisherAm Nuden Da2013
with assumed responsibility of Pascale Berthier & Cerith Wyn Evans and a response by David Cunningham Slope Deviation from the horizontal or vertical Recline Fifty balloons read as a score in an afternoon Da is published by Am Nuden Da. It takes its name after the magazine Da founded by Isidore Isou and Serge Moscovici in 1944.
PublisherEar | Wave | Event2014
Ear │ Wave │ Event is tired of hearing that music or sound is beyond language or outside meaning. Ear │ Wave │ Event can’t deal with another hymn to the ethicality of hearing. Ear │ Wave │ Event will scream if another art historian reports “discovering” sound.   Ear │ Wave │ Event does not consider the descriptive cataloguing of audio recordings as criticism.  Ear │ Wave │ Event was founded because there is a growing community of artistic practitioners and theorists who are eager to come together and address those strains of sonic intelligence (material, intellectual, other) that are ...
PublisherEar | Wave | Event 2015
While we’ve applauded recent moves in art history and media studies challenging the hegemony of the visual, why does the waxing art world topicality of “listening” seem to be inversely proportional to sound practitioners’ waning interest in it? Does it really have to turn up on e-flux before people pay attention? Haven’t musicians, composers, and sound artists all over the world been thinking listening for centuries?… The contributors to Issue 2 face the immense material complexity of listening head on – physically, technically, formally, politically, socially. Their contributions continually orbit the question, ‘What is Listening?,’ all the while deftly dodging all ...
PublisherEBM(T)2015
On February 26, 2015, Robin Mackay travelled to Graz, to speak at the show-johnmccracken/text/) at Künstlerhaus Halle für Kunst & Medien. In the talk Mackay attempted to draw some brief comparisons between the sound work of Hecker and the analyses of colour proposed by Éric Alliez in his book on modern painting, The Brain-Eye, which he had spent the previous year translating. Apart from extensive works on the rail line which made travel both ways extremely taxing, the most notable thing about the episode was the impressive cathedral-like echo in the grand hall of the Künstlerhaus. Hecker requested a recording ...
Recently, there has been a revived interest in the medium of radio, which can be attributed to the extended range of network-based services. Most important in this context is the world-wide availability of high-quality streaming, the abolishing of monopolies, or at least the unproblematic and easy access to technologies and infrastructures as well as concessions and licences. After all its years of existence, and despite momentous technological chances, radio still displays its characteristic directness, a characteristic already pointed out by Rudolf Arnheim and Bertolt Brecht and later by Marshall McLuhan. Currently, there is an abundance of art radio projects, practically all ...
PublisherselnichoBuró-Buró2017
Keith Rowe explores the nagging questions that the field of visual arts began to interrogate in the 20th century, bringing them to the musical universe under the counter. These inquiries are about the ways we experience modifications to the notion of space in music, the preponderance of the role of listening in the resignification of sonic events, and the timbric exploration translated to the whole world, beginning with everyday life. (…) Keith ignores the disciplinary boundaries that separate the aural and visual orders. He exchanges and trades with different poetics, tracing a sound whose significance emerges from the way it ...
PublishersBuró—Buróelnicho2017
How to approach the accessibility of new music to new audiences? How to entice people to get closer and discover without preconceptions or reluctance—but rather as a new form of participation and natural listening experience, what is often perceived as difficult music? What is the relationship of this music, if any, with contemporary arts in a way that it may grasp the attention and active involvement of the spectator and/or listener? Sound and music seem to have been underwhelmingly part of contemporary museums. However, they are shyly making their way in the area of contemporary art, often via visual artists keen ...
After a historical recognition of electronic music and sound’s exploration performed in art galleries – i.e. not in the spaces traditionally dedicated to music – the architect and art curator Jurij Krpan describes Batista’s projects collected in the exhibition Temporary Objects and Hybrid Ambients 2008–2010. Batista – who is a tech-mixed-media artist, sound researcher, video experimentalist and AV performer – creates hardware environments that establish connections between digital and analogic, electronic and mechanic, visual and sound, audience and machines. He manages to change the perception of electronic as the realm of precision and perfection, showing its characteristics of unintelligibility and imprecision. Through ...
PublisherInduction Burners2017
Induction Burners interview with Marina Rosenfeld (1:37:00″)
PublisherLateral Addition2013
Please read the following instructions before playback: The audio above is not the work but a means to facilitate the dynamic listening which you must perform. Throughout playback you must adjust the volume of your playback system in relation to the constantly shifting loudness of the audio track. The object of continual volume adjustment is to maintain as constant a resulting perceived volume as possible, despite continual changes of volume built into the track. Performance requires constant attention to the track’s loudness and simultaneous compensation in relation to its changes: – if the track gets louder, you must turn down playback volume; – if the ...
PublisherRoom 402014
  Stephen Vitiello + Steve Roden – One Island Dreams Another from ROOM40 on Vimeo. Recorded as part of their joint residency on Governor’s Island in New York, this edition documents their installation work created for the unique acoustics of the Cornelius Chapel. Like many of the recordings that populate their solo discographies, The Spaces Contained In Each, dwells in a zone of rich textural soundscapes. Distant bells toll at the edges of perception, field recordings flutter amid bursts of modular synth and other electronics. The sound field is constantly evolving and unfolding as layer upon layer of sound draws you deeper into ...
Publisher2016
A piece of music notable for its use by the Cisco corporation while customers are on hold. A full genealogy of the piece can be found in this article, and some of its cultural effects can be learned in this podcast. This entry was included in Library Stack as part of a collection by Howie Chen.
PublisherLateral Addition2016
Late last year, I visited Christopher Knowles in his studio on 20th street in New York City to discuss his contribution to this publication. Knowles shares the studio with his wife, the artist Sylvia Netzer, and the three of us sat down and listened to many of Knowles’s recordings before he decided on the one he wanted to include. As we played a selection of the sound works, most of which were created in the 1970s and early 1980s, Knowles spoke about the condition of each tape’s production. He readily called to mind where he made each tape, the day ...
PublisherLateral Addition2014
Audio Excerpts, Movements 1.5, 2 March 21, 2014, EMPAC, Troy, NY The notion that underlies this piece is levitation, both literally and metaphorically. When composing I imagined the possibility of the sonic elements existing in a parallel dimension, the aural aspect holding matter suspended as if it were an apparition in an interstitial space. In the presentation of the work, a literal manifestation or demonstration of low-end frequency levitation takes place using hand-crafted subwoofers with materials hovering in the windows of the boxes. The piece evolved out of studies accompanied by drawings and texts as investigations of threshold states. It is comprised ...
PublisherLiverpool Biennial2016
The noisy buzz of the mains electricity power supply has been one of our urban environment’s most persistent background noises. One day in 1996 Dr Catalin Grigoras realised that the electricity wasn’t just making noise, but in fact singing… The UK national electrical grid delivers power across the country. This mains power supply makes a constant humming sound, yet there are tiny changes to the frequency of this sound every second. Most recordings made in the UK have a trace of mains hum on them and this can be forensically analysed to determine the time and date they were made, and ...
PublisherRemote Viewing2019
Computer Program as an Artefact At first, the computer program is neutral and exists only in terms devoid of any reference other than to itself. The program is its function. It is a tool. It does something; it instructs a computer to perform a task. Its working is often imperceptible beyond the surface of its interface – screen based or physical – the material extension to the inner depths of its digital structure, the code. Focusing solely on a functional aspect of software limits our engagement with its wider assemblage of connotations beyond technical analysis. Beyond the functional and ostensible neutrality ...

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