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Sound Art: Beyond Music, Between Categories…
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Sound Art: Beyond Music, Between Categories (Book & CD) (2007 original; edició 2007)

de Alan Licht, Jim O'Rourke (Introducció)

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412469,646 (2.79)No n'hi ha cap
Over the past century, an art form has emerged that draws from the worlds of visual art and music. Sound art’s roots can be found in the experimental work of Italian Futurism, Dada, and later the Fluxus group and the pioneering efforts of the American composer and artist John Cage. In the wake of this groundbreaking work, sound art began to mature into a movement, and artists explored the interactive possibilities of sound and in turn created entirely new modes of experiencing and engaging with art. In this volume, the complete story of sound art is told by one of the country’s leading critics and scholars. The author traces the history of this form of art–highlighting the convergence of the indie world bands such as Sonic Youth with the art world–looking at the critical cross-pollination that has led to some of the most important and challenging art being produced today, including work by Christian Marclay, LaMonte Young, Janet Cardiff, Rodney Graham, and Laurie Anderson, among many others.… (més)
Membre:CCS_Library
Títol:Sound Art: Beyond Music, Between Categories (Book & CD)
Autors:Alan Licht
Altres autors:Jim O'Rourke (Introducció)
Informació:Rizzoli (2007), Hardcover, 304 pages
Col·leccions:La teva biblioteca
Valoració:
Etiquetes:Spring_2009_new acquisitions

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Sound Art: Beyond Music, Between Categories (Book & CD) de Alan Licht (2007)

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Solid and accessible. Not super sharp or insightful but good overview. ( )
  triphopera | Apr 14, 2018 |
I can't quite decide what to make of this book. It's a good thing to see a discursive, wide-ranging book on sound art that covers both its practitioners, history, and context. This is a welcome departure from most of the previous books on the subject (Interviews with Sound Artists, Sound by Artists, Site of Sound, Sonic Boom etc) which are essentially compendia of artists' texts or interviews.

Licht tackles his subject under three main headings: What is sound art?; Environment and soundscapes; and Sound and the art world. Much of the book talks around sound art without ever reaching a happy definition, illustrating by example rather than offering a chronology or clear logic. That makes it pleasant enough to read, but very difficult to refer to afterwards. There is a useful section offering potted biographies for 31 sound artists, which is helpful but raises as many questions as it answers: why are several people featured clearly musicians rather than artists, for example? In this respect, it reflects the lack of clarity of the rest of the book.

So while you will read about key sound artists like Christina Kubisch or Max Neuhaus, there's also plenty here about the experimental music fringe, No Wave bands or musique concrete composers. That's all very interesting but seems to detract from the key focus of the book. There are also several omissions (Peter Appleton, Gottfried Willem Raes, Philip Jeck, Disinformation etc) which betray a definite Americocentrism.

One of the best things about the book is the inclusion of numerous well-reproduced photos of installations and sound art events - these are excellent and almost enough on their own to justify the book's publication.

I did enjoy the book - I learnt much that was new and the unwillingness to limit itself to any one approach to sound art allows unpredictable connections to juxtapose and coalesce. But this is not the definitive book on the subject and there's plenty more to be said yet. ( )
  bduguid | Feb 6, 2008 |
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Wikipedia en anglès (2)

Over the past century, an art form has emerged that draws from the worlds of visual art and music. Sound art’s roots can be found in the experimental work of Italian Futurism, Dada, and later the Fluxus group and the pioneering efforts of the American composer and artist John Cage. In the wake of this groundbreaking work, sound art began to mature into a movement, and artists explored the interactive possibilities of sound and in turn created entirely new modes of experiencing and engaging with art. In this volume, the complete story of sound art is told by one of the country’s leading critics and scholars. The author traces the history of this form of art–highlighting the convergence of the indie world bands such as Sonic Youth with the art world–looking at the critical cross-pollination that has led to some of the most important and challenging art being produced today, including work by Christian Marclay, LaMonte Young, Janet Cardiff, Rodney Graham, and Laurie Anderson, among many others.

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