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Modulations : Une histoire de la musique électronique

Si vous cherchiez un point commun entre Daft Punk et Karlheinz Stockhausen, Giorgio Moroder et Aphex Twin, Public Enemy et Brian Eno, n’allez pas plus loin : ils font tous partie de la plus grande aventure musicale de la fin du XXe siècle (et du début de ce siècle), celle des musiques électroniques. Du futurisme italien jusqu’aux travaux de déconstruction sonore des musiciens de house ou de downtempo, depuis les montages de bandes magnétiques des précurseurs de la musique concrète jusqu’à l’extrémisme brutal du gabber et la douceur ouatée de l’ambiant, en passant par les fulgurances des pionniers de la musique hip-hop et les visions électro-funk des inventeurs de la techno de Detroit, Modulations est la première histoire raisonnée de ces musiques publiée en France.

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Visual Music: Synaesthesia in Art and Music Since 1900

Music has inspired some of the most progressive art of our time from the abstract painting of Wassily Kandinsky and Frantisek Kupka to the mid-century experimental films of Oskar Pischinger and Harry Smith to contemporary installations by Jennifer Steinkamp and Jim Hodges. While early abstract paintings tended to approach music metonymically, the colour organs, films, light shows and installations from midtwentieth century to the present day engage a range of perceptual faculties to create a plethora of sensations in the viewer.The most complete examination of this phenomenon to date, "Visual Music" features ninety major works of art plus related documentation, focusing on abstract and mixed-media art forms and their connections to musical forms as varied as classical, jazz and electronica. The book includes three scholarly essays, each discussing a distinct art historical period in depth, and an additional essay by Olivia Mattis that approaches the subject from a musicologists perspective, as well as a chronology, artist biographies and a selected bibliography.

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Colour-Music

'It was five o'clock in the afternoon. There can be no doubt whatever as to that. Old Agnes may say what she pleases--she has a habit of doing so--but I know for certain (because I looked at my watch not ten minutes before it happened) that it was exactly five o'clock in the afternoon when I received a most singular and every way remarkable visit--a visit which has left an indelible impression on my memory, as well it might; for, independent of its singularity and unexpectedness, one of its results was the series of strange adventures which are faithfully detailed in this volume. It happened thus:-'

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Experimental Animation : Origins of a new art

From the early abstract animation films created at the start of this century to the latest in technologically oriented films, here is a comprehensive anthology of cinematic animation. It brings together over 50 interviews and first-person accounts that describe the work of 38 innovative artist-filmmakers. Such pioneers as Alexander Alexeieff and Claire Parker, Hans Richter, Vicking Eggerling, and Oskkar Fishinger are alongside the recent avant-garde of Robert Breer, Harry Smith, Stan VanDer Beek, Peter Foldes, and Ed Emschweiller. With nearly 300 illustrations, a filmography, a glossary of technical terms, and a list of distributors, this is the first important sourcebook for an emerging art.

RESSOURCES > OUVRAGE

Sonic Graphics : Quand le son devient image

Le monde de la musique et celui du graphisme sont aujourd'hui indissociables : des pochettes de disque aux flyers en passant par les affiches de concert ou de festival, la sphère musicale offre des possibilités d'expérimentation visuelle illimitées pour les graphistes qui ont souvent fait leurs premières armes sur ce type de supports. Sonic Graphics - Quand le son devient image explore ce thème de la fusion entre musique et graphisme. Comment peut-on traduire la mélodie, l'harmonie et le rythme en images ? De quelle manière la musique influence-t-elle le graphisme ? Telles sont, entre autres, les questions abordées par Matt Woolman, graphiste et professeur de graphisme.

RESSOURCES > OUVRAGE

Site of Sound: Of Architecture and the Ear

Une anthologie, réalisée par Brandon LaBelle et Steve Roden, dédiée aux relations entre le son et l'espace, avec des textes, des entretiens et des projets visuels par des compositeurs expérimentaux, des artistes sonores, des architectes et des théoriciens. CD avec des pièces de Achim Wollscheid, Hildegard Westerkamp, John Hudak, Christof Migone, RLW, Steve Peters, Christina Kubish, LaBelle / Roden, m/s and Toshiya Tsunoda, Jio Shimizu, Richard Lerman.

RESSOURCES > OUVRAGE

Wireless Imagination: Sound, Radio, and the Avant-Garde

"Wireless Imagination is a beautifully produced collection of essays on the interplay between art, noise, experimental music, and technology. . . . An enlightening exploration of a little- known area of art history." -- Gareth Branwyn, Wired "Think of this book as a radio station with some really good shows. Think of yourself as a radio." -- Joshua Clover, San Francisco Review of Books Wireless Imagination addresses perhaps the most conspicuous silence in contemporary theory and art criticism, the silence that surrounds the polyphonous histories of audio art. Composed of both original essays and several newly translated documents, this book provides a close audition to some of the most telling and soundful moments in the "deaf century," conceived and performed by such artists as Raymond Roussel, Antonin Artaud, Marcel Duchamp, Andre Breton, John Cage, Hugo Ball, Kurt Weill, and William Burroughs.

RESSOURCES > OUVRAGE

Resonanzen/Resonances: Aspekte Der Klangkunst/Aspects of Sound Art

Sound art is one of the most fascinating phenomena in modern art. In recent years, more and more people have developed an interest in it: they apparently sense that this form of art touches on a fundamental experience. After all, at the very beginning, all of us got to know the world we live in as an acoustic space, before the sense of sight, which develops later, put us at a distance from the world. This book provides insight into the work of important protagonists of sound art and some of its outstanding representatives from the younger generation: Andres Bosshard (Switzerland; 1955) Paul DeMarinis (U.S.; 1948), Rolf Julius (Germany; 1939), Christina Kubisch (Germany; 1948), Bernhard Leitner (Austria; 1938), Andreas Oldorp (Germany; 1959), Ed Osborn (U.S.; 1964), Martin Riches (U.K.; 1942), Steve Roden (U.S.; 1964), Erwin Stache (Germany; 1960) and Miki Yui (Japan; 1971).

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The Sound of Painting: Music in Modern Art

PreSchool-K-- A playful bedtime romp through the animal kingdom. Inspired by a story about Noah's Ark, twins Minnie and Max perform their prebed activities Two by Two . So, two crocodiles splashingly brush their teeth, two kangaroos jump enthusiastically on the bed, and two cubs hide from Daddy in their blanket cave. When Max begins to : cry, fearing a lion under his bed, brave Minnie discovers it's the family cat. Only then can the twins snuggle together, like two little mice, and fall asleep. That their antics are purely imaginative is revealed through colorful illustrations and creative page design. Bright watercolor paintings reveal a cozy home and a happy family. While the brief text and formulaic plot make this an excellent choice for toddlers, the large type is appropriate for beginning readers. --Jeanne Marie Clancy, Upper Merion Township Library, King of Prussia, PA Copyright 1992 Reed Business Information, Inc. --Ce texte fait référence à une édition épuisée ou non disponible de ce titre.

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Sounding New Media: Immersion and Embodiment in the Arts and Culture

Sounding New Media examines the long-neglected role of sound and audio in the development of new media theory and practice, including new technologies and performance art events, with particular emphasis on sound, embodiment, art, and technological interactions. Frances Dyson takes an historical approach, focusing on technologies that became available in the mid-twentieth century-electronics, imaging, and digital and computer processing-and analyzing the work of such artists as John Cage, Edgard Varèse, Antonin Artaud, and Char Davies. She utilizes sound's intangibility to study ideas about embodiment (or its lack) in art and technology as well as fears about technology and the so-called "post-human." Dyson argues that the concept of "immersion" has become a path leading away from aesthetic questions about meaning and toward questions about embodiment and the physical. The result is an insightful journey through the new technologies derived from electronics, imaging, and digital and computer processing, toward the creation of an aesthetic and philosophical framework for considering the least material element of an artwork, sound.

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Planètes sonores : Radiophonie, arts, cinéma

Aujourd’hui, le son est un acteur essentiel de la création artistique et cet ouvrage — initialement paru en 2007, épuisé depuis, et ici réédité revu et augmenté — l’analyse de manière fragmentaire mais précise, et dans une perspective trans-historique, à travers trois domaines : la radiophonie, les arts plastiques et le cinéma.

RESSOURCES > OUVRAGE

Background Noise: Perspectives on Sound Art

The rise of a prominent auditory culture, reveals the degree to which sound art is lending definition to the 21st Century. And yet sound art still lacks related literature to compliment, and expand, the realm of practice. Background Noise sets out an historical overview, while at the same time shaping that history according to what sound art reveals - the dynamics of art to operate spatially, through media of reproduction and broadcast, and in relation to the intensities of communication and its contextual framework

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The rest is noise : A l'écoute du XXe siècle, la modernité en musique

De la Vienne impériale de Mahler et Strauss au Paris des Années folles et du groupe des Six, de l’Allemagne d'Hitler à l’Union soviétique de Staline, Chostakovitch et Prokofiev, des avant-gardes les plus radicales de l’après-guerre à l’Amérique des sixties et des seventies, Alex Ross retrace avec brio la grande aventure de la musique moderne. Au fil des guerres chaudes et froides, des révolutions et des conservatismes, de l’élitisme de la Seconde Ecole de Vienne à l’avènement de la culture de masse, c’est véritablement l’histoire du XXe siècle par sa musique qu’il nous donne à entendre. Son credo : parler de la musique classique comme si elle était universellement populaire, et de la musique populaire comme si elle accédait enfin à l’intemporalité de ce qui est classique.

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In the Place of Sound: Architecture | Music | Acoustics

In early June 2006, a group of over one hundred artists and researchers met for a three-day conference in the Architecture Building at Ryerson University in Toronto, Canada, to discuss from as many different viewpoints as possible the varying relationships between sound and space. This conference was part of soundaXis, a city-wide festival involving most of Toronto s new music community and organised by the Toronto Coalition of New Music Presenters. Out of the lively discussions at this conference, two primary themes emerged: the fraught condition of the relationship between sound as space, and the problematic role of representation and its twin, translation, in any discussion of this relationship. This book presents thirteen essays taken from the conference which address one, or both, of these primary themes. In addition, seven graphic essays have been included which present projects in which architects explicitly take on sound as a generating material in their designs. The resulting chapters in the book provide a diverse and, hopefully, provocative collection of ideas and images. They are meant not so much as a comprehensive study of the sound|space nexus such a study may not actually be possible but as a place to begin the discussion.

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In the Blink of an Ear: Toward a Non-Cochlear Sonic Art

Review Seth Kim-Cohen has drawn a line in the sand of the Chladni plate of sound art. As a listener, he is impatient with the simple ding in the thing-in-itself: it sounds too much like the metaphysical front end of a church bell. To improve listening Kim-Cohen pits Duchamp's non-retinal art against Cage's sound-in-itself and argues for an non-cochlear art where sounds are allowed to keep resonating past the inner ear all the way to the brain and back. He speaks eloquently for all who like to think and listen at the same time and for all interested in a new round of debates, now that art is more than the visual arts.

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See This Sound : Promises in Sound and Vision

As the status of sound in art and music evolves and redefines itself, so too does sound art find new ways of describing its history. See This Sound compiles a huge number of artists, filmmakers, composers and performers, reaching back into the early twentieth century and into the present to survey overlaps between not only sound and art, sound and film, and the metaphor of cinema as rhythm or symphony. Proceeding chronologically, the book takes the early cinematic "eye music" of Hans Richter as a starting point, noting parallel works by Walter Ruttmann and Oskar Fischinger; moving into the postwar period, the art/cinema/ music experiments of Peter Kubelka, Valie Export and Michael Snow are discussed, establishing precedents to similar work by Rodney Graham, Carsten Nicolai, Jeremy Deller and many others. In its scope and intelligence, See This Sound is a unique survey of this realm.

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Music and Architecture (Iannis Xenakis)

This important work fills a major lacuna in the literature by bringing together, for the first time, all the texts relating to architecture by the multi-faceted Xenakis, who worked with Le Corbusier for 12 years. Sharon Kanach assisted the composer in gathering the texts for this, his last ambitious project. Her commentary throughout the book seeks to bridge the reciprocal influences between music and architecture in the Xenakis oeuvre. The volume is organized into four main subject headings: The Le Corbusier Years, Xenakis as Independent Architect, Writings on Architecture, and The Polytopes. Three major appendices comprise: An up-to-date and annotated bibliography of writings by and on Xenakis by Makis Solomos; a critical index of Xenakis's architecture by Sven Sterken; and a comparative chronology of Xenakis's life and work by Sharon Kanach.

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