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Riferendosi ad un vuoto progettuale di almeno 50 anni (con genesi nella dialettica tra Adorno e Benjamin degli anni Trenta, fino alla musica concettuale di John Cage di metà Novecento e agli esiti ultimi di Philip Glass), Andrea Branzi riconferma in questo saggio la propria posizione di sovvertitore delle logiche concettuali e spaziali del progetto: come fenomeno(...)
La musica contemporanea e il suo spazio
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Riferendosi ad un vuoto progettuale di almeno 50 anni (con genesi nella dialettica tra Adorno e Benjamin degli anni Trenta, fino alla musica concettuale di John Cage di metà Novecento e agli esiti ultimi di Philip Glass), Andrea Branzi riconferma in questo saggio la propria posizione di sovvertitore delle logiche concettuali e spaziali del progetto: come fenomeno “inatteso”, la Musica contemporanea genera nuovi prototipi urbani, compositivi, cognitivi inaspettati. L’inatteso, nello specifico, non è solo la musica come generativa di un nuovo layer urbano, ma è una terza via di pensiero sullo spazio in toto. Spazio che viene disassato dalle logiche compositive visive e oggettuali tipiche della modernità, matrice di una prassi monodirezionata, verso una dimensione più aperta, orizzontale, sensoriale: una nuova esperienza intellettuale e di immaginazione.
Acoustics
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When all else fails, when our compass is broken, there is one thing some of us have come to rely on: music really can give us a sense of something like home. With "It gets me home, this curving track," legendary music critic Ian Penman reaches for a vanished moment in musical history when cultures collided and a certain kind of cross-generational and "cross-colour"(...)
It gets me home, this curving track
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When all else fails, when our compass is broken, there is one thing some of us have come to rely on: music really can give us a sense of something like home. With "It gets me home, this curving track," legendary music critic Ian Penman reaches for a vanished moment in musical history when cultures collided and a certain kind of cross-generational and "cross-colour" awareness was born. His cast of characters includes the Mods, James Brown, Charlie Parker, Frank Sinatra, Elvis Presley, John Fahey, Steely Dan and Prince – black artists who were innovators, and white musicians who copied them for the mainstream.
Acoustics
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Une incursion dans un champ majeur du travail de Christina Kubisch, pionnière des arts sonores, qui explore depuis les années 1970 le potentiel sonore des champs électromagnétiques générés par notre environnement urbain et technologique.// An incursion into a major field of work by Christina Kubisch, a pioneer of sound art who has been exploring the sonic potential of(...)
Inaudible, invisible : Une exploration des œuvres de Christina Kubisch
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Une incursion dans un champ majeur du travail de Christina Kubisch, pionnière des arts sonores, qui explore depuis les années 1970 le potentiel sonore des champs électromagnétiques générés par notre environnement urbain et technologique.// An incursion into a major field of work by Christina Kubisch, a pioneer of sound art who has been exploring the sonic potential of electromagnetic fields generated by our urban and technological environment since the 1970s.
Acoustics
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Une vaste recherche sur la notion d'écologie acoustique et sonore (les sonorités du paysage : la sonosphère, le Soundscape) et sa transition vers une nouvelle écosophie sonore, intégrant la multidimensionalité de l'écoute pour proposer d'entendre (et donc à la fois d'écouter, de comprendre et de vouloir) autrement.
Les sonorités du monde : De l'écologie sonore à l'écosophie sonore
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Une vaste recherche sur la notion d'écologie acoustique et sonore (les sonorités du paysage : la sonosphère, le Soundscape) et sa transition vers une nouvelle écosophie sonore, intégrant la multidimensionalité de l'écoute pour proposer d'entendre (et donc à la fois d'écouter, de comprendre et de vouloir) autrement.
Acoustics
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How do we build or make a voice together? Can we imagine the voices we make in the form of a skin, a multi-sensory interface that behaves both as a boundary and as a point of connection? What does such a voice capacitate in times of crises and uncertainties? In ''Building a Voice: Sound, Surface, Skin'', Zeynep Bulut explores these questions. She examines the(...)
Building a voice: Sound, surface, skin
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How do we build or make a voice together? Can we imagine the voices we make in the form of a skin, a multi-sensory interface that behaves both as a boundary and as a point of connection? What does such a voice capacitate in times of crises and uncertainties? In ''Building a Voice: Sound, Surface, Skin'', Zeynep Bulut explores these questions. She examines the multi-sensory and collective forms of voice making in experimental music, sound and media art in conversation with the use of voice in creative interventions for environmental crisis, experiences of voice hearing, and digital technologies of artificial and tactile speech.
Acoustics
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Comprehensive and illuminating, ''Orpheus in the Underworld'' centers on Adorno’s concrete and immediate engagement with musical compositions and their interpretation in the concert hall and elsewhere. Here, Adorno registers his initial encounters with the compositions of the Second Viennese School, when he had yet to integrate them into a broad aesthetics of music.(...)
Orpheus in the underworld: essays on music
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Comprehensive and illuminating, ''Orpheus in the Underworld'' centers on Adorno’s concrete and immediate engagement with musical compositions and their interpretation in the concert hall and elsewhere. Here, Adorno registers his initial encounters with the compositions of the Second Viennese School, when he had yet to integrate them into a broad aesthetics of music. Complementarily essays on Bela Bartók, Jean Sibelius, and Kurt Weill afford insight into his understanding of composers who did not fit neatly into the dialectical schema propounded in the Philosophy of New Music. Additionally, essays on recording and broadcasting show Adorno engaging with these media in a spirit that is no less productive than polemical and focused as sharply on their potentialities as on their shortcomings.
Acoustics
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From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of(...)
Surface tension : problematics of site
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From Gordon Matta-Clark to Lawrence Weiner, Bruce Nauman to Alison Knowles, the question of site locates itself in issues of public space, at the intersection of the imagined and the real, at the juncture of performance and architectural production. By anthologizing essays, documents, and interviews by leading critics, historians, and artists on issues of site-specificity, conceptualism, feminism, and architecture practice, "Surface Tension" reveals the connections between cultural production and the very spaces in which such work functions. These textual explorations are complemented by extensive documentation of related projects, both historical and contemporary, by artists, architects, and performance artists, including 'Coughing Piece', a never-before released 1961 audio work by Yoko Ono; an obscure audio work by Nauman from 1969; projects by Suzanne Lacy, a leading figure in the development of conceptual practice and public art; and an experimental text by Jane Rendell on psychic architectures. Conversations occur between the pages of "Surface Tension", between theoretical analysis and modes of practice, that activate the publication as a site itself, one participating in a broad field of knowledge. Includes an audio CD of the sound art pieces. Artists Include: Gordon Matta-Clark, Lawrence Weiner,Jan Hofer, Melissa Dyne, Kim Abeles, Carol Brown, Christof Migone, Michael Rakowitz, Eyal Weizman, Rafael Lazano-Hemmer, Tanja Jordan, Lizzie Scott, Tim Durfee, Lize Mogel, Suzanne Lacy, Michael Asher, Bruce Nauman, Lucky Kitchen, Michael Prime, Alison Knowles, and Yoko Ono, amongst others.
Acoustics
Arcana 2 musicians on music
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Arcana II is the second in a groundbreaking series of volumes presented by John Zorn answering a continuing need for critical attention toward avant-garde and experimental music. Thirty distinguished composer/performers illuminate and speculate upon method and practice in the process of making, experiencing, and thinking about music. Imaginatively elucidating through(...)
Arcana 2 musicians on music
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Arcana II is the second in a groundbreaking series of volumes presented by John Zorn answering a continuing need for critical attention toward avant-garde and experimental music. Thirty distinguished composer/performers illuminate and speculate upon method and practice in the process of making, experiencing, and thinking about music. Imaginatively elucidating through essays, scores, manifestoes, and interviews both real and imaginary, Arcana II gives voice to a new generation of brave musical explorers living outside the mainstream academy who passionately and selflessly devote themselves to a search for the miraculous.
Acoustics
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2000
Sounding out the city : personal stereos and the management of every life
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2000
books
June 2000, New York, Oxford
Acoustics
Arcana 3 musicians on music
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The writings in the continuing Arcana series provide direct connections to the inner sanctums of some of the most extraordinary musical thinkers of our time. Technical, philosophical and mystical in nature, these essays reach out to the listener to illuminate the creative processes and hidden stratagem of a music (and a community) largely misjudged and unappreciated by(...)
Arcana 3 musicians on music
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The writings in the continuing Arcana series provide direct connections to the inner sanctums of some of the most extraordinary musical thinkers of our time. Technical, philosophical and mystical in nature, these essays reach out to the listener to illuminate the creative processes and hidden stratagem of a music (and a community) largely misjudged and unappreciated by mainstream culture. Arcana provides welcome tools for digging into the underground and can lead the creative mind toward an exciting world of possibilities for artists, musicians, musical theorists and curious listeners alike.
Acoustics