{"title":"The Ding in Itself","authors":"John Mowitt","doi":"10.1093/oxfordhb/9780190274054.013.18","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.18","url":null,"abstract":"Based on an extended reading of John Cage’s composition Water Walk as performed on the US television programme I’ve Got a Secret, the matter of what makes sound art, sound art is presented in this chapter in theoretical terms. Specifically, sound art is work that poses the question—what is a thing?—using the expressive resources (words, sounds, images, gestures) at the artist’s disposal. Starting with two things presented in Water Walk—a pressure cooker that sounds, and radios that sound differently—this chapter suggests how this presentation invites comparison with the philosophical treatment of ‘things’ to be found in the work of Kant (especially his distinction between noumenal and phenomenal things) Heidegger and Agamben. The comparison is shown to establish that what could be called sound art effectively drowns out the difference between art and theory. Put differently, sound art obliges us to hearken to the question sound ‘itself’ presents.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"118 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123229295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Soundfullessness","authors":"Christof Migone","doi":"10.1093/oxfordhb/9780190274054.013.26","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.26","url":null,"abstract":"Are the predictable associations between sound and darkness, night and music, based solely on the ability of the aural sense to focus thanks to a reduction of the visible field? Even if the answer lies in a correlation between physical manifestation and physiological adaptation, the socio-cultural scaffolding that stems from this simple fact is of interest. Sites of investigation: John Oswald’s pitch black performances; Studio 303’s Noises from the Dark series; Adrian Piper’s Untitled Performance at Max’s Kansas City; Andre Lepecki’s (and by extension Fred Moten’s) ‘shared aurality’ active in the quartet of darkness/blackness/potentiality/freedom; Derek Jarman’s Blue and, especially, Akira Mizuta Lippit’s analysis of the film where sound becomes image and image becomes sound; the use of darkness at the famed 1938 International Surrealist Exhibition in Paris; the Saydnaya Military Prison; Guy Debord’s Hurlements en faveur de Sade; amongst others. Is sound necessarily of the dark, from the dark, in the dark? Eclipses and shadows, caves and caverns are moments and sites where and when sounds thrive, or at least are invoked and conjured. How does the night sound? Merleau-Ponty begins to answer the question by depicting the night as generator of a different kind of space, one that ‘has no outlines; … is pure depth without foreground or background, without surfaces and without any distance separating it from me’. The implications on sound of the inside/outside blur, the porous muddle, are that its sensorial properties have ontological consequences.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"24 7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133208119","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A New Materiality Post-Speaker Sound Art","authors":"Fari Bradley","doi":"10.1093/oxfordhb/9780190274054.013.15","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.15","url":null,"abstract":"How do sound artists function in a ‘post-speaker’ approach to production? Due to the market proliferation of reasonably-priced loudspeakers, rendering them portable and reduced in size on the gallery floor, a standard emerged in which soundworks were formed of prerecorded sounds played back from loudspeakers in gallery spaces. In these instances technology served as the material, shape and form of both sound sculpture and installation, the speaker representing a conveyance of ‘truth’. As a reaction, ‘post-speaker’ soundworks grew gradually as an awareness amongst artists who consciously avoided employing generic loudspeakers, or sought to hide them, perceiving them to be empty vessel conveying artifice. Since even before the loudspeaker was affordable, perhaps as a way of adapting to the loudspeaker’s expense, and later as a reaction to its ubiquity, there has been an ebb and flow towards building on the physical experience of a work, either by generating the sound in the gallery space itself or by using the loudspeaker in innovative ways. The reaction to speakers is a self-conscious continuum created by omission whereby sound sculpture and installation increasingly return to kinetic tendencies, and hand-made and found objects in immersive works that eschew or deconstruct the speaker’s homogeneity altogether.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114866122","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chthonic: 72 hours below Earth day","authors":"Louise K. Wilson","doi":"10.1093/oxfordhb/9780190274054.013.42","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.42","url":null,"abstract":"This chapter takes as its starting point a durational project in which three artists and an engineer spent seventy-two hours dwelling underground, in a disused lead mine in the North Pennines (in the north of England) They took up residence in the cavernous ‘Ballroom’, spending time engaging in audio experimentation and the production of drawings, writings and video making. The text reflects on the works made (both individual and collaborative) and the perceptual, epistemological and ontological observations arising from this unique performance. One of the key aspects of the experience was the impact of this specific acoustic environment in shaping awareness of processes of listening and in generating a productive resonance with place.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114502011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Felt Spaces","authors":"G. Böhme","doi":"10.1093/oxfordhb/9780190274054.013.4","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.4","url":null,"abstract":"The chapter deals with the atmospheric space provided by music or sound art. The main point is that this is not Euclidian space, that is, the space of geometry, but felt space. Starting from the two classical concepts of space—topos (Aristotle) and spatium (Descartes)—the article introduces with the help of New Phenomenology—the concept of felt space (leiblicher Raum). Turning to music, in particular to Sound-Scapes (Murray Schafer) and sound art, Böhme shows that sound is tuning the felt space or better—producing a certain atmosphere. Atmospheres are spaces with a certain mood.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"304 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122775349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Now in the Network","authors":"Michael Rofe","doi":"10.1093/oxfordhb/9780190274054.013.10","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.10","url":null,"abstract":"Network technologies have played an increasingly prominent role in sound art practices over the last forty years. The consequent creative possibilities associated with space and locality are clearly apparent: networks enable connections between geographically remote locations, and allow the creation of new virtual spaces for sound art to inhabit. Less immediately apparent—though equally significant—are the ways in which network technologies have enabled artists to explore temporal relationships in their work. In particular, network technologies inevitably involve latency—a short time delay between the moment a signal is created at one location and the moment it is perceived at another. Taking traditional notated music practice as a point of reference, this chapter considers a number of case studies in which sound artists have explored new types of temporal relationships in their work, as a consequence of their use of network technologies. This investigation is framed in the context of Bergson’s concept of durée and Clarke’s concept of subject position.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114877838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sound Art and Time","authors":"Christoph Cox","doi":"10.1093/oxfordhb/9780190274054.013.8","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.8","url":null,"abstract":"This chapter explores the relationship between sound art and time, focusing on a set of works that mark milestones in the history of sound art and that explicitly engage varieties of temporality. It begins with a discussion of Thomas Edison’s invention of phonography, which allowed sound to be captured and gave it an untimely existence. It then turns to the work of John Cage, analysing it by way of Henri Bergson’s philosophy of time. The essay goes on to discuss the notions of time, duration, and eternity in Maryanne Amacher’s radio works, Max Neuhaus’s installations, La Monte Young’s Dream House, Jem Finer’s Longplayer, and other works.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115325339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sound in the Mediated Space","authors":"DooEun Choi","doi":"10.1093/oxfordhb/9780190274054.013.6","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.6","url":null,"abstract":"With recent advances in technological media, the artistic notion of the multimedia environment has been dramatically extended. In this collection of interviews, sound will be examined in relation to various mediated spaces, from the ubiquitous urban space of telematic cities to enclosed audiovisual spaces. The sounds present in these mediated spaces act as triggers which allow the audience to transcend the sensory experiences of the mundane. They accomplish this through the visualization of invisible auditory forces, or by creating an immersive space beyond the realm of the physical ambient space. In some cases, sounds archived and shared on media platforms direct attention to larger sociopolitical issues. Such mediated environments, artistically augmented with the power of sound, become platforms wherein audiences can experience new potentials of sensory space. Furthermore, these works also introduce possibilities of new forms of sound-based connectivity and communication.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124400691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sound is Silence","authors":"Greg Hainge","doi":"10.1093/oxfordhb/9780190274054.013.20","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.20","url":null,"abstract":"This chapter investigates the possibility of talking about the fabric of sound. The claim is made that sound has no fabric of its own and is extended only through other sites and media. It is suggested, however, that we might talk about sound not as a fabric but as un fabriquer, a term that brings with it something of the asubjective, relational, and operational nature of sound. When thinking through this in terms of sound art, greater complexity arises since a human subject is necessarily interpolated into the relation, and the fabric of sound (which is to say its ontology) must be thought of from a phenomenological perspective. To do this, I use the philosophy of Merleau-Ponty, in particular his concept of a chiasmic relation out of which the perceptible world is produced as what he terms ‘the flesh of the world’. I contend that this concept, as outlined in his late philosophy, is problematic because it is hard to see how it can lead to the kind of experiential intersubjectivity that it argues for. This argument is unpacked through a consideration of the physiological phenomenon of otoacoustic emissions before going on to argue that art, and in this specific case sound art, may provide a solution to the conundrum of how such necessary intersubjectivity can arise, a suggestion that is prosecuted via a consideration of Jacob Kirkegaard’s Labyrinthitis, a work of sound art constructed out of otoacoustic emissions.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121838365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sound and Thing","authors":"Aden Evens","doi":"10.1093/oxfordhb/9780190274054.013.14","DOIUrl":"https://doi.org/10.1093/oxfordhb/9780190274054.013.14","url":null,"abstract":"‘Sound and Thing’ examines the tensions between the idea of a thing as stable, durable, locatable, and weighty versus the notion of sound as ephemeral, eventual, diffuse, and dematerialized. Considering recordings that focus on capturing the sounds of things (Resonance FM, ‘One Hour As ….’), composers and sound theorists who attempt to pin down the thingness of a sound (David Dunn, Pierre Schaeffer, Salomé Voegelin), and philosophers who articulate the surprisingly complex dynamics of things (Martin Heidegger, Dr. Seuss), this essay offers an uneasy rapprochement between sound and thing. But if sounds, finally, are things, they exhibit an unusual and dynamic thingness, a sonic vitalism, that resists the positivism of our age and of our leading technologies.","PeriodicalId":108222,"journal":{"name":"The Oxford Handbook of Sound Art","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122262771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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