sonore
visuel

histoire et actualité
des arts sonores
et audiovisuels

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City Sonic : Les arts sonores dans la cité

Les croisements interdisciplinaires et poétiques entre son et objet, arts visuels, cultures numériques, nomadisme, environnement... sont explorés au-delà des spécificités de ce «sound art» contextuel qui investit la cité pour la métamorphoser.

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Experimental Sound & Radio

Taking the approach that there is no single entity that constitutes "radio," but rather a multitude of radios, the essays explore various aspects of its apparatus, practice, forms, and utopias. The approaches include historical, political, popular cultural, archeological, semiotic, and feminist.

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Sound by Artists

 

John Cage • Suzanne Delehanty • Bill Viola
Marysia Lewandowska • Max Neuhaus • Christina Kubisch
Max Bruinsma • Richard Kostelanetz • Bruce Barber
Maurizio Nannucci • Gordon Monahan • Daina Augaitis
Kevin Concannan • Ian Murray • Alvin Lucier
Gregory Whitehead • Mystery Laboratory  • R. Murray Schafer
Annea Lockwood • Hildegard Westerkamp
 Rod Summers • Ihor Holubizky • Jack Goldstein
Rita McKeough • Moniek Darge & Godfried-Willem Raes
Douglas Kahn • Donal McGraith • Graf Haufen
Stelarc • Christian Marclay
 
 
Reviews of the Facsimile Edition:
 
Editors Lander and Lexier have made a brave attempt to define exactly what “sound by artists” is, collating over 30 essays ranging from interview excerpts with John Cage to art installation literature; discussion over how everyday “noise” constitutes audio art; cassette culture of the 80s; and pioneering tape-splicing the likes of which Steinski helped take overground.
...There’s some seriously good stuff here, though, forcing the reader to think about how they perceive their surroundings, while it also reveals how some seriously forward-thinking brains have freed music-making from the strictures of traditional songwriting.
 
—Jason Draper, Record Collector, June 2013.
 
...the art historical essays contain some great writing and provide a context for the emerging thoughts of the time... The pieces from the artists’ end of the spectrum, taking in scores, interviews,documentation of events, theories and outlines of then-ongoing projects, hold up remarkably well. ...The icing on the cake, though, is surely the absurdly extensive list of audio works by artists that concludes the book.
 
—Matthew Erickson, The Wire, June 2013.
 
...la reedición del también histórico libro "Sound by Artists",
publicado originalmente en 1990 y editado por Dan Lander y Micah Lexier. Pues bien, hace sólo unos meses la Blackwood Gallery y Charivari Press pusieron a la venta una edición facsímil de este volumen, cuya versión original sólo puede encontrarse a precios astronómicos, y en muy contadas ocasiones. Así que aquellos interesados en leer las contribuciones a este ya clásico volumen de autores como John Cage, Kevin Concannan, Douglas Kahn, Richard Kostelanetz, Christina Kubisch o Annea Lockwood, entre muchos otros, ahora tienen una oportunidad mucho más sencilla para hacerlo
 
—Ars Sonora, Radio Clásica - Radio Nacional de España
 

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Rumour and Radiation: Sound in Video Art

 

This is a book about video art, and about sound art.
 
The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form.
 
Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.

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Sounding the Gallery: Video and the Rise of Art-Music

Sounding the Gallery explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes

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Les chercheurs de sons

Les « chercheurs de sons » ont laissé au vestiaire les certitudes de la lutherie traditionnelle pour partir à la découverte des " terra incognita " de la musique. Instruments inventés, machines musicales, sculptures et installations sonores, un long sous-titre pour rendre compte de la diversité des approches de ce champ musical aussi diversifié qu'inventif.

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Théories de la composition musicale au XXe siècle

Le XXe siècle musical n'a eu de cesse de renouveler les langages, les techniques d'écriture et les outils technologiques, mais aussi d'en observer les principes, voire d'en prescrire les règles. Comme Baudelaire l'avait annoncé, avec la modernité naît l'exigence de l'artiste raisonnant son art et découvrant les lois en vertu desquelles il crée.

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Soundings: A Contemporary Score

Soundings: A Contemporary Score investigates the ways in which some of the most innovative contemporary artists are working with sound today. These artists approach sound from a variety of disciplines--visual arts, architecture, performance, computer programming and music--yet they share an interest in working with, rather than against or independent of, a given situation or environment.

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Synesthésie et Matérialisation du Son en Art à l'Ère du Numérique

Ce travail de recherche résume le parcours de la synesthésie « son-couleur » en tant que véritable phénomène neurologique,puis en tant que métaphore artistique, tout au long du XXème siècle. Il pose alors les bases d’une démarche plus personnelle et appliquée, concentrée sur la création actuelle.

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La spatialisation des musiques électroacoustiques

L'espace est un paramètre clé au XXe siècle en musique et particulièrement en ce qui concerne les musiques diffusées sur des haut-parleurs. Il est maintenant possible de créer des sensations auditives inédites, notamment en multipliant les points de diffusion, avec des cas extrêmes comme les orchestres de haut-parleurs (Acousmoniurns) ou l'utilisation de murs de haut-parleurs pour la synthèse de front d'ondes (Wave Field Synthesis).

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Les cloches d'Atlantis. Musique électroacoustique et cinéma, archéologie et histoire d'un art sonore

Ce livre est une histoire de la création sonore au XXe siècle et des ses auteurs, précurseurs d'’une pensée sonore révolutionnaire et fondateurs d’une nouvelle manière d' ’« organiser » et de composer les sons. Cette étude permet de reconsidérer un pan tout entier de la création sonore dans les grands genres cinématographiques, (fiction, animation, documentaire, expérimental) ; de la période qui précède l'’avènement du cinéma sonore, en 1926, en passant par la naissance du design sonore, le service de la recherche de l'’ORTF et le cinéma d’'auteur à la fin du XXe siècle. Le propos de l’'ouvrage est illustré par un grand nombre d'’images.

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FRENCH TOUCH - GRAPHISME VIDÉO ELECTRO

En 1994, Eric Morand, fondateur, avec le DJ Laurent Garnier, du label de musique techno, F Communications, déclare : « We give a french touch to house music ». Ce terme « French Touch » qualifie un mouvement de musique électronique français représenté par des groupes comme Air, Daft Punk, Cassius...

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Volume – What You See Is What You Hear n° 05

Le cinquième numéro de la revue d'art contemporain sur le son (textes critiques et monographiques, analyses historiques, entretiens, interventions d'artistes...) se penche sur des phénomènes liés à la perception et aux états de conscience modifiés voire altérés, des expériences immersives et cognitives, peuplées d'histoires de fantômes et traversées de voyages intérieurs ou intergalactiques.

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A House Full of Music: Strategies in Music and Art

Famously described by Schönberg as "not a composer, but an inventor--of genius," John Cage (1912-1992) was one of the great strategists and pioneers of twentieth-century music and art. A House Full of Music celebrates Cage's one-hundredth birthday by examining 12 fundamental strategies through which art and music have informed each other: recording, collage, silence, destruction, calculation, coincidence, feeling, thought, belief, furnishing, repetition and play

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Remix Theory: The Aesthetics of Sampling

Remix Theory: The Aesthetics of Sampling is an analysis of Remix in art, music, and new media. Navas argues that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. His investigation locates the roots of Remix in early forms of mechanical reproduction, in seven stages, beginning in the nineteenth century with the development of the photo camera and the phonograph, leading to contemporary Remix culture.

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Sound in Z: Experiments in Sound and Electronic Music in Early 20th-century Russia

Sound in Z supplies the astounding and long-lost chapter in the early story of electronic music: the Soviet experiment, a chapter that runs from 1917 to the late 1930s. Its heroes are Arseny Avraamov, inventor of Graphic Sound (drawing directly onto magnetic tape) and a 48-note scale; Alexei Gastev, who coined the term "bio-mechanics"; Leon Theremin, inventor of the world's first electronic instrument, the Theremin; and others whose dreams for electronic sound were cut short by Stalin's regime.

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cyclo. id

Ryoji Ikeda and Carsten Nicolai both work at the cutting-edge of contemporary electronic music and sound art. In 1999, the two artists initiated the joint project cyclo., which is devoted to the visualization of sound. In their shared work, they generate new hybrid forms of audiovisual art and expand the possibilities of digital technology.

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Grid Index

Grid Index is the first comprehensive visual lexicon of patterns and grid systems. Based upon years of research, artist and musician Carsten Nicolai has discovered and unlocked the visual code for visual systems into a systematic equation of grids and patterns. The accompanying CD contains all of the grids and patterns featured in the publication from the simplest grids made up entirely of squares to the most complex irregular ones with infinitely unpredictable patterns of growth, as editable vector graphic data files. Use it to map out the underlying grids of any image or form and to create recurring geometrical grids in graphic design - an essential reference for designers, visual artists, architects, researchers and mathematicians.

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