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Volume 4 - What You See is What You Hear

Le quatrième numéro de la revue d'art contemporain sur le son (textes critiques et monographiques, analyses historiques, entretiens, interventions d'artistes...), autour des questions du double et de l'interprétation : Mark Leckey, Ruth Ewan, Tom Marioni et les explorations sonores dans la baie de San Francisco, notes sur 21.3 de Robert Morris, entretien avec Pierre Henry, le projet Louie Louie, interventions inédites de Dora García et Hannah Rickards, etc.

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Volume 3 - What You See is What You Hear

Au sommaire du troisième numéro de la revue d'art contemporain sur le son (textes critiques et monographiques, analyses historiques, entretiens, interventions d'artistes...) : Source, Music of the Avant Garde, Histoire et sous-cultures, Pierre Bal-Blanc, P. Nicolas Ledoux & Pierre Beloüin, Brian Kennon, Bernard Heidsieck, Bertrand Lamarche, Susan Hiller, Francis Baudevin, Matthieu Clainchard, François Daillant, Mattin...

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Volume 2 - What You See is What You Hear

Le second numéro de la revue d'art contemporain spécialisée sur le son est consacré à la problématique de la voix et de l'oralité (performance vocale, poésie sonore, diffusion radiophonique, le langage dans l'art conceptuel, etc.), dans ses dimensions esthétique, poétique et/ou politique.

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Volume 1 : What You See is What You Hear

Ce premier numéro interroge les frontières souvent troubles entre l'art sonore et l'art contemporain intégrant le son comme médium ou simple référent. Il en aborde par ailleurs la dimension figurative à travers ses représentations picturales, photographiques ou sculpturales pouvant se démarquer, par leur mutisme, de considérations strictement sonores. Enfin, certains textes en explorent la dimension temporelle. Autant d'orientations qui laissent entrevoir l'étendue des territoires mêlés du son et des arts plastiques.

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Avant-gardes sonores en architecture

Un parcours à travers l'architecture, l'art et la musique au cours du XXe siècle. L'étude de notions telles que l'ambiance et le soundscape touche à des problématiques qui questionnent d'une part la « matérialité » du son, et d'autre part les effets atmosphériques en architecture. Le progrès des technologies électro-acoustiques et du contrôle environnemental sont à la base de ces transformations dans la perception classique du son et de l'espace bâti.

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Peter Vogel : Partitions de réactions

Une vue complète de l'œuvre de l'artiste emblématique des arts sonores et de l'art cybernétique, avec une centaine d'illustrations, de nombreux textes, un entretien et les enregistrements des installations musicales sur CD.

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Synesthesia: A Union of the Senses

For decades, scientists who heard about synesthesia hearing colors, tasting words, seeing colored pain just shrugged their shoulders or rolled their eyes. Now, as irrefutable evidence mounts that some healthy brains really do this, we are forced to ask how this squares with some cherished conceptions of neuroscience. These include binding, modularity, functionalism, blindsight, and consciousness. The good news is that when old theoretical structures fall, new light may flood in. Far from a mere curiosity, synesthesia illuminates a wide swath of mental life.

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Sounds: A Philosophical Theory

Vision dominates philosophical thinking about perception, and theorizing about experience in cognitive science has traditionally focused on a visual model. In a radical departure from established practice, Casey O'Callaghan provides a systematic treatment of sound and sound experience, and shows how thinking about audition and appreciating the relationships between multiple sense modalities can enrich our understanding of perception and the mind.

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Sonic Warfare: Sound, Affect, and the Ecology of Fear

Sound can be deployed to produce discomfort, express a threat, or create an ambience of fear or dread--to produce a bad vibe. Sonic weapons of this sort include the "psychoacoustic correction" aimed at Panama strongman Manuel Noriega by the U.S. Army and at the Branch Davidians in Waco by the FBI, sonic booms (or "sound bombs") over the Gaza Strip, and high-frequency rat repellants used against teenagers in malls.

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Paul Klee : Polyphonies

Parmi les artistes majeurs de la première moitié du XXe siècle, Paul Klee se distingue par sa pratique suivie de la musique, tant comme violoniste de niveau professionnel que comme auditeur enclin à partager son appréciation intime du langage musical. Partie prenante de sa théorie artistique, la musique nest pas seulement pour lartiste une passion de jeunesse. Elle anime, sa vie durant, la quête dun élargissement des possibilités expressives de la peinture.

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Debussy, la musique et les arts

Claude Debussy, sans doute le compositeur le plus fécond de sa génération, puisa pour bonne part son inspiration dans la poésie et les arts visuels de ses contemporains. A l'occasion du 15e anniversaire de sa naissance, cet ouvrage a pour ambition 4e mettre en perspective les développements thématiques de sa musique avec l'imaginaire qui leur a donné naissance.

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John Cage: Every Day is a Good Day: The Visual Art of John Cage

One of the twentieth century's most influential and iconoclastic protagonists, John Cage (1912-1992) may be described not so much as a composer, artist and author, as a thinker who applied his ideas equivalently to sound, visual art and writing. As with his music, the use of chance operations--in particular via the Chinese Book of Changes, or I Ching--was central to Cage's approach to visual art, determining technique, the placement of forms and even tonal values.

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Source: Music of the Avant-garde, 1966-1973

The journal Source: Music of the Avant-garde was and remains a seminal source for materials on the heyday of experimental music and arts. Conceived in 1966 and published to 1973, it included some of the most important composers and artists of the time: John Cage, Harry Partch, David Tudor, Morton Feldman, Robert Ashley, Pauline Oliveros, Dick Higgins, Nam June Paik, Steve Reich, and many others.

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Listening through the Noise: The Aesthetics of Experimental Electronic Music

Electronic music since 1980 has splintered into a dizzying assortment of genres and subgenres, communities and subcultures. Given the ideological differences among academic, popular, and avant-garde electronic musicians, is it possible to derive an aesthetic theory that accounts for this variety? And is there even a place for aesthetics in twenty-first-century culture?

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Experimentalism Otherwise: The New York Avant-Garde and Its Limits

In Experimental Otherwise, Benjamin Piekut takes the reader into the heart of what we mean by "experimental" in avant-garde music. Focusing on one place and time--New York City, 1964--Piekut examines five disparate events: the New York Philharmonic's disastrous performance of John Cage's Atlas Eclipticalis; Henry Flynt's demonstrations against the downtown avant-garde; Charlotte Moorman's Avant Garde Festival; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop.

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Notations 21

Drawing inspiration from John Cage's Notations, Notations 21 features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. These spectacularly beautiful and fascinatingly creative visual pieces make not only for exciting music, but for inspiring visual art as well. The scores are accompanied by written contributions from the artists that explore every facet of their creative processes, from inspiration to execution.

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A Touch of Code: Interactive Installations and Experiences

Thanks to the omnipresence of computers, cell phones, gaming systems, and the internet, a broad audience has traded its past reservations against technology for an almost insatiable curiosity for all things technical. Against this background, unprecedented new tools and possibilities are opening up for the world of design

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The Fundamentals of Sonic Art and Sound Design

Sound is all around. In movies. On TV. On the radio. Now the idea that sound can be an artistic medium in its own right is shaking the art world. Written by an authority in the field, "The Fundamentals of Sonic Arts" "and Sound Design" describes and begins the process of defining this entirely new subject. Topics covered include new and radical approaches to sound recording, performance, installation works and exhibitions, plus visits with sonic artists and sound designers.

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