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Organised Sound, 2018
This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding
Asbjørn Blokkum Flø
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This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding
Asbjørn Blokkum Flø
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The Oxford Handbook of Sound Art
, 2021The Oxford Handbook of Sound Art is a collection of new essays by artists and thinkers exploring the uses of sound in contemporary arts practice. Between them these chapters bring together a wide variety of perspectives and practices from around the ...
Z. Bulut
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Postcritical Listening: Political affordances in participatory sound art
Organised Sound, 2020This article makes an argument for the postcritical treatment of the politics of sound art. Counterpointing an autoethnographic analysis of Kristina Kubisch’s Electrical Walks with Seth Kim-Cohen’s critical reading of the same work, I show how a critical
Vadim Keylin
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SubStance, 2020
:From the 1960s through the 1980s, an ever-expanding exploration of sound occurred within the visual arts field, helping give birth to Sound Art (and its exhibition) as a unique genre.
L. Belford
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:From the 1960s through the 1980s, an ever-expanding exploration of sound occurred within the visual arts field, helping give birth to Sound Art (and its exhibition) as a unique genre.
L. Belford
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Listening to Indigenous Knowledge of the Land in Two Contemporary Sound Art Installations
, 2020This essay addresses the silences and soundings of Rebecca Belmore9s (Anishinaabe) and Julie Nagam9s (Anishinaabe/Metis/German/Syrian) sound art, which reflects their environmentalism and profound commitment to Indigenous ways of knowing, making, and ...
Kate Galloway
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網際網路技術學刊
《Due to the rapid development of interactive technology, sound interaction, as one of the core forms of interactive art, plays an important role in sound art. Its interactivity is one of the main factors affecting audiences’ perception.
Xizhi Zhang Xizhi Zhang +2 more
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《Due to the rapid development of interactive technology, sound interaction, as one of the core forms of interactive art, plays an important role in sound art. Its interactivity is one of the main factors affecting audiences’ perception.
Xizhi Zhang Xizhi Zhang +2 more
semanticscholar +1 more source
Seismograf, 2017
A compilation of articles and audio papers presented at the conference Sound Art Matters, Aarhus 2016.
Groth, Sanne Krogh +3 more
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A compilation of articles and audio papers presented at the conference Sound Art Matters, Aarhus 2016.
Groth, Sanne Krogh +3 more
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Staging the Kinetic: How music automata sensitise audiences to sound art
Organised Sound, 2018Western audiences have long been fascinated with music automata. Against this backdrop, it may not be surprising that art and music curators display historical examples of such mechanical instruments together with contemporary sounding art.
Linnea Semmerling +2 more
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