178 Results
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books
books
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We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced(...)
$44.95
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Summary:
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced(...)
Subject:
Acoustics
Acoustics
Publication:
December 2006, Cambridge / London
December 2006, Cambridge / London
Title:
Spaces speak, are you listening ? Experiencing aural architecture
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We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture. The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines--including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others--Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
Spaces speak, are you listening ? Experiencing aural architecture
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$44.95
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Summary:
We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture. The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines--including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others--Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects.
Form:
books
books
Publication:
December 2006, Cambridge / London
December 2006, Cambridge / London
Subject:
Acoustics
Acoustics
Form:
books
books
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$34.95
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Summary:
Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of(...)
$34.95
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Summary:
Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of(...)
Title:
Sonic experience : a guide to everyday sounds
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$34.95
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Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of sounds on listeners. In a multidisciplinary work spanning musicology, electro-acoustic composition, architecture, urban studies, communication, phenomenology, social theory, physics, and psychology, Jean-François Augoyard, Henry Torgue, and their associates at the Centre for Research on Sonic Space and the Urban Environment (CRESSON) in Grenoble, France, provide an alphabetical sourcebook of eighty sonic/auditory effects. Their accounts of sonic effects such as echo, anticipation, vibrato, and wha-wha integrate information about the objective physical spaces in which sounds occur with cultural contexts and individual auditory experience. "Sonic experience" attempts to rehabilitate general acoustic awareness, combining accessible definitions and literary examples with more in-depth technical information for specialists.
Sonic experience : a guide to everyday sounds
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$34.95
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Summary:
Never before has the everyday soundtrack of urban space been so cacophonous. Since the 1970s, sound researchers have attempted to classify noise, music, and everyday sounds using concepts such as Pierre Shafer's sound object and R. Murray Schafer's soundscape. Recently, the most significant team of soundscape researchers in the world has been concerned with the effects of sounds on listeners. In a multidisciplinary work spanning musicology, electro-acoustic composition, architecture, urban studies, communication, phenomenology, social theory, physics, and psychology, Jean-François Augoyard, Henry Torgue, and their associates at the Centre for Research on Sonic Space and the Urban Environment (CRESSON) in Grenoble, France, provide an alphabetical sourcebook of eighty sonic/auditory effects. Their accounts of sonic effects such as echo, anticipation, vibrato, and wha-wha integrate information about the objective physical spaces in which sounds occur with cultural contexts and individual auditory experience. "Sonic experience" attempts to rehabilitate general acoustic awareness, combining accessible definitions and literary examples with more in-depth technical information for specialists.
Form:
books
books
Publication:
March 2006, Montreal
March 2006, Montreal
Subject:
Acoustics
Acoustics
Form:
books
books
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$18.00
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Summary:
Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills(...)
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Summary:
Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills(...)
Subject:
Acoustics
Acoustics
Publication:
June 2006, Copenhagen, Los Angeles
June 2006, Copenhagen, Los Angeles
Title:
Surface tension - supplement no 1
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$18.00
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Summary:
Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills Landfill, Scott Berzofsky, Nicholas Petr, Nicholas Wisniewski & Michael Rakowitz on artistic interventions in Baltimore, and by Claudine Isé, curator of "Vanishing Point", an exhibition at the Wexner Center for the Arts, which questions the aesthetics of urban non-spaces through recent photography and film. In addition field reports by Robin Wilson on public art projects in Bristol, Goto Newton on the cultures of interventionist practice in Curitiba Brazil, and Ken Ehrlich on the infrastructure of signage in Los Angeles as seen through the photographic works of Brandon Lattu complement the articles. In addition, documentation of public projects in Tijuana and Ohio by the artist groups Simparch and e-Xplo will be presented, along with projects designed specifically for the book by Sophie Warren and Jonathan Mosely, a Bristol-based team working with questions of utopian architecture, and Brandon LaBelle with a textual-photographic meditation on experimental architecture. Additional writings by Kathy Battista and Aoife O’Brien provide critical and creative perspectives on recent events, books, and exhibitions working with questions of architecture, performance, and media.
Surface tension - supplement no 1
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$18.00
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Summary:
Identifying an intensified concern for place-based production in art and architecture, "Surface tension – supplements" addresses questions of site-specific art, public and architectural design, and location-based practice. With Supplement No. 1, issues of spatial practice are explored in critical essays by Jennifer Gabrys on the geographic implications of Fresh Kills Landfill, Scott Berzofsky, Nicholas Petr, Nicholas Wisniewski & Michael Rakowitz on artistic interventions in Baltimore, and by Claudine Isé, curator of "Vanishing Point", an exhibition at the Wexner Center for the Arts, which questions the aesthetics of urban non-spaces through recent photography and film. In addition field reports by Robin Wilson on public art projects in Bristol, Goto Newton on the cultures of interventionist practice in Curitiba Brazil, and Ken Ehrlich on the infrastructure of signage in Los Angeles as seen through the photographic works of Brandon Lattu complement the articles. In addition, documentation of public projects in Tijuana and Ohio by the artist groups Simparch and e-Xplo will be presented, along with projects designed specifically for the book by Sophie Warren and Jonathan Mosely, a Bristol-based team working with questions of utopian architecture, and Brandon LaBelle with a textual-photographic meditation on experimental architecture. Additional writings by Kathy Battista and Aoife O’Brien provide critical and creative perspectives on recent events, books, and exhibitions working with questions of architecture, performance, and media.
Form:
books
books
Publication:
June 2006, Copenhagen, Los Angeles
June 2006, Copenhagen, Los Angeles
Subject:
Acoustics
Acoustics
Form:
books
books
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$18.95
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Summary:
In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists.
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Summary:
In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists.
Title:
On late style : music and literature against the grain
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Summary:
In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists.
On late style : music and literature against the grain
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$18.95
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Summary:
In this fascinating book, Edward Said looks at the creative contradictions that often mark the late works of literary and musical artists.
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books
books
Publication:
April 2007, New York
April 2007, New York
Form:
books
books
Title:
Structure and synthesis
Structure and synthesis
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$54.00
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Summary:
In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
$54.00
(available to order)
Summary:
In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
Title:
Structure and synthesis
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$54.00
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Summary:
In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
Structure and synthesis
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$54.00
(available to order)
Summary:
In this extensive anthology, Mark Fell, a pioneering artist known for his sound installations and his musical work solo and as part of SND and Sensate Focus, assembles a collection of diverse materials charting his defiantly unorthodox thinking on time, structure, technology, and the relation between academic and popular electronic music.
Form:
books
books
Publication:
May 2021
May 2021
Subject:
Acoustics
Acoustics
Form:
books
books
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$115.00
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Summary:
On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation.(...)
$115.00
(available to order)
Summary:
On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation.(...)
Title:
Sound scenography: the art of designing sound for spaces
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$115.00
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Summary:
On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation. The topic is framed by interviews and texts by guest authors within this discipline.
Sound scenography: the art of designing sound for spaces
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Price:
$115.00
(available to order)
Summary:
On the occasion of the 15-year anniversary of Idee und Klang Audio Design (Idea and Sound Audio Design), a publication has been created that is dedicated to sound scenography and at the same time reflects the work of the atelier. It includes questions about the still-young field of acoustic exhibition design as well as personal experiences in the area of audio creation. The topic is framed by interviews and texts by guest authors within this discipline.
Form:
books
books
Publication:
October 2021
October 2021
Subject:
Acoustics
Acoustics
Form:
books
books
Title:
On listening
On listening
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$29.00
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"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which(...)
$29.00
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Summary:
"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which(...)
Title:
On listening
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"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which skilled listening can mediate new relationships with our physical environment and the people and other species that we share it with.
On listening
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$29.00
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Summary:
"On listening" is a unique collection of forty multi-disciplinary perspectives drawn from anthropology, bioacoustics, geography, literature, community activism, sociology, religion, philosophy, art history, conflict mediation and the sonic arts including music, ethnomusicology and field recording. These specially commissioned contributions explore the many ways in which skilled listening can mediate new relationships with our physical environment and the people and other species that we share it with.
Form:
books
books
Publication:
October 2013
October 2013
Subject:
Acoustics
Acoustics
Form:
books
books
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$37.95
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Summary:
Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of(...)
$37.95
(available to order)
Summary:
Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of(...)
Title:
The order of sounds: a sonorous archipelago
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$37.95
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Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of sounds", François J. Bonnet makes a compelling case for the irreducible heterogeneity of ‘sound’, navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the ‘soundscape’ and ‘reduced listening’ demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound ‘itself’, nor an ‘ocean of sound’ in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.
The order of sounds: a sonorous archipelago
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$37.95
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Summary:
Profoundly intimate yet immediately giving onto distant spaces, both an ‘organ of fear’ and an echo chamber of anticipated pleasures, an uncontrollable flow subject to unconscious selection and augmentation, the subtlety, complexity, and variety of modes of hearing has meant that sound has rarely received the same philosophical attention as the visual. In "The order of sounds", François J. Bonnet makes a compelling case for the irreducible heterogeneity of ‘sound’, navigating between the physical models constructed by psychophysics and refined through recording technologies, and the synthetic production of what is heard. From primitive vigilance and sonic mythologies to digital sampling and sound installations, he examines the ways in which we make sound speak to us, in an analysis of listening as a plurivocal phenomenon drawing on Foucault, Deleuze and Guattari, Barthes, Nancy, Adorno, and de Certeau, and experimental pioneers such as Tesla, Bell, and Raudive. Stringent critiques of the ‘soundscape’ and ‘reduced listening’ demonstrate that univocal ontologies of sound are always partial and politicized; for listening is always a selective fetishism, a hallucination of sound filtered by desire and convention, territorialized by discourse and its authorities. Bonnet proposes neither a disciplined listening that targets sound ‘itself’, nor an ‘ocean of sound’ in which we might lose ourselves, but instead maps out a sonorous archipelago—a heterogeneous set of shifting sonic territories shaped and aggregated by the vicissitudes of desire and discourse.
Form:
books
books
Publication:
May 2016
May 2016
Subject:
Acoustics
Acoustics
Form:
books
books
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$30.00
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Summary:
Au confluent des arts visuels et de la musique, les partitions graphiques de "voir dans le vent qui hurle les étoies rire, et rire" se présentent comme de véritables oeuvres autonomes conviant le regardeur à s'immerger dans l'univers du compositeurs montréalais Symon Henry. Le créateur nous livre un grand fleuve intranquille où se conjuguent les traits de plomb, de fusain(...)
$30.00
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Summary:
Au confluent des arts visuels et de la musique, les partitions graphiques de "voir dans le vent qui hurle les étoies rire, et rire" se présentent comme de véritables oeuvres autonomes conviant le regardeur à s'immerger dans l'univers du compositeurs montréalais Symon Henry. Le créateur nous livre un grand fleuve intranquille où se conjuguent les traits de plomb, de fusain(...)
Title:
Voir dans le vent qui hurle les étoiles rire, et rire
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$30.00
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Au confluent des arts visuels et de la musique, les partitions graphiques de "voir dans le vent qui hurle les étoies rire, et rire" se présentent comme de véritables oeuvres autonomes conviant le regardeur à s'immerger dans l'univers du compositeurs montréalais Symon Henry. Le créateur nous livre un grand fleuve intranquille où se conjuguent les traits de plomb, de fusain et de pastel gras. À travers ces 168 dessins, il nous invite à voir et à entendre sa musique, en écho au concert d'ouverture du pavillon Pierre Lassonde qui s'est tenu le 18 septembre 2016, faisant résonner encore un peu les notes de cet événement aussi unique que nécessaire.
Voir dans le vent qui hurle les étoiles rire, et rire
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$30.00
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Summary:
Au confluent des arts visuels et de la musique, les partitions graphiques de "voir dans le vent qui hurle les étoies rire, et rire" se présentent comme de véritables oeuvres autonomes conviant le regardeur à s'immerger dans l'univers du compositeurs montréalais Symon Henry. Le créateur nous livre un grand fleuve intranquille où se conjuguent les traits de plomb, de fusain et de pastel gras. À travers ces 168 dessins, il nous invite à voir et à entendre sa musique, en écho au concert d'ouverture du pavillon Pierre Lassonde qui s'est tenu le 18 septembre 2016, faisant résonner encore un peu les notes de cet événement aussi unique que nécessaire.
Form:
books
books
Publication:
October 2016
October 2016
Form:
books
books
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$18.95
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par(...)
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par(...)
Title:
Le concert : Pink Floyd à Venise
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par des impératifs antagonistes de nappes sonores architecturées, de réverbérations acoustiques ingérables et de préservation du patrimoine classé, cet impossible concert s'inscrit à la fois dans l'histoire des grands concerts rock et dans celle des édifices flottants de la Sérénissime. Mais au lieu de fêter le Rédempteur, l'évènement virera finalement à la polémique et au fiasco.
Le concert : Pink Floyd à Venise
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Près de vingt ans après leur « concert » mythique dans les ruines de Pompéi (1971), les membres du groupe de rock progressif Pink Floyd, pour la plupart formés en écoles d'architecture à Londres, décident, lors de leur tournée mondiale « A Momentary Lapse of Reason » en 1989, d'offrir à Venise et en world live un concert flottant devant la place Saint-Marc. Contraint par des impératifs antagonistes de nappes sonores architecturées, de réverbérations acoustiques ingérables et de préservation du patrimoine classé, cet impossible concert s'inscrit à la fois dans l'histoire des grands concerts rock et dans celle des édifices flottants de la Sérénissime. Mais au lieu de fêter le Rédempteur, l'évènement virera finalement à la polémique et au fiasco.
Form:
books
books
Publication:
May 2017
May 2017
Subject:
Acoustics
Acoustics
