sonore
visuel
histoire et actualité
des arts sonores
et audiovisuels
Ce livre cherche à souligner les continuités et les ruptures qu'apporte le numérique dans le rapport qui se crée entre les images et les sons. Depuis l'influence mutuelle des arts graphiques et des arts sonores en peinture jusqu'aux hypermédias aujourd'hui, on peut repérer une dynamique de convergence toujours plus affirmée des deux représentations. Si le numérique, avec son codage discret, est un moment fort de cette trajectoire, il engendre différents modes de communication spécifiques : interactivité, générativité, simulation, qui chacun, à sa manière, modifie les rapports entre les deux modalités, comme autant d'étapes vers une fusion des conditions de production. Dépassant les notions classiques d'image et de son, cette fusion permet d'envisager l'apparition d'un nouvel objet audiovisuel composite, structuré et complexe. Ainsi, l'évolution de cette relation concerne autant le concepteur (qui manipule une " matière audiovisuelle " toujours plus riche) que l'utilisateur (nouvelles applications, nouveaux effets perceptifs) et modifie la nature même du média.
Tout au long du XXe siècle, peintres et musiciens ont multiplié des formes d'échanges qui vont bien au-delà des parallélismes auxquels ont été trop souvent réduites les relations entre disciplines artistiques. A cet égard, les expérimentations menées par les futuristes et les dadaïstes au début du siècle, de même que les démarches de Kandinsky, Klee ou de Mondrian, ont constitué de précieux catalyseurs pour les artistes qui souhaitaient dépasser les catégories conventionnelles. Ainsi, le temps va devenir une composante concrète d'un travail plastique. L'espace prend place comme une dimension à part entière d'un projet musical. Un objet sonore est envisagé sous le double aspect de son apparence visuelle et de ses conséquences acoustiques. Les nouvelles technologies elles-mêmes se situent au croisement de différents modes d'expression. Autant de manières de questionner un art par un autre et de conduire à de fertiles débats d'idées.
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.
'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:-'
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.
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.
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.
The "sonic turn" in recent art reflects a wider cultural awareness that sight no longer dominates our perception or understanding of contemporary reality. The background buzz of myriad mechanically reproduced sounds increasingly mediates our lives. Tuning into this incessant auditory stimulus, some of our most influential artists have investigated the corporeal, cultural, and political resonance of sound. In tandem with recent experimental music and technology, art has opened up to hitherto excluded dimensions of noise, silence, and the act of listening. Artists working with sound have engaged in new forms of aesthetic encounter with the city and nature, the everyday and cultural otherness, technological effects and psychological states. New perspectives on sound have generated a wave of scholarship in musicology, cultural studies, and the social sciences. But the equally important rise of sound in the arts since 1960 has so far been sparsely documented. This volume is the first sourcebook to provide, through original critical writings and artists' statements, a genealogy of sonic pathways into the arts, philosophical reflections on the meanings of noise and silence, dialogues between art and music, investigations of the role of listening and acoustic space, and a comprehensive survey of sound works by international artists from the avant-garde era to the present.
Artists:Marina Abramović, Vito Acconci, Doug Aitken, Maryanne Amacher, Laurie Anderson, John Cage, Kim Cascone, Martin Creed, Paul DeMarinis, Bill Fontana, Kim Gordon, Dan Graham, Ryoji Ikeda, Mike Kelley, Christina Kubisch, Bernhard Leitner, Alvin Lucier, Len Lye, Christian Marclay, Max Neuhaus, Carsten Nicolai, Hermann Nitsch, Yoko Ono, Nam June Paik, Luigi Russolo, Karin Sander, Mieko Shiomi, Michael Snow and Bill Viola
