The Bloomsbury Handbook of Sound Art

Description

The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories. Cover Half title Title Copyright Contents Sound Art. The First 100 Years of an Aggressively Expanding Art Form Part I After the Apocalypse. The Desert of the Real as Sound Art 1 The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse 2 Composing Sociality. Toward an Aesthetics of Transition Design 3 Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art 4 Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything Part II Journeys across the Grid. Postcolonial Transformations as Sound Art 5 “ Diam! ” (Be Quiet!). Noisy Sound Art from the Global South 6 Curating Potential. Migration and Sonic Artistic Practices in Berlin 7 Four Artistic Journeys i Pockets of Communities ii Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene iii When I Close My Eyes Everything Is So Damn Pretty (Can’t Do the Thing You Want, Can’t Do the Thing You Want, Can’t Do the Thing You Want) iv Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives 8 Sound Art in East and Southeast Asia. Historical and Political Considerations Part III Come Closer . . . Intimate Encounters as Sound Art 9 Kiss, Lick, Suck. Micro-Orality of Intimate Intensities 10 Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-Portraits, and Shadow Walks 11 Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art 12 Intruders Touching You. Intimate Encounters in Audio Part IV De-Institutionalize! Institutional Critique as Sound Art 13 Inquiring into the Hack. New Sonic and Institutional Practices by Pauline Oliveros, Pussy Riot, and Goodiepal 14 Outside and Around Institutions. Two Artistic Positions i Working in the Sounding Field ii Conversations and Utopias 15 Audiogrammi of a Collective Intelligence. The Composer-Researchers of S2FM, SMET, NPS, and Other Mavericks 16 Sounding in Paths, Hearing through Cracks. Sonic Arts Practices and Urban Institutions Part V The Sonic Imagination. Sonic Thinking as Sound Art 17 The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound 18 Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound 19 “Specific Dissonances.” A Geopolitics of Frequency 20 A Universe in a Grain of Sound. The Production of Time and Sonic Fiction in Machinic Sound Art Part VI Making Sound. Building Media Instruments as Sound Art 21 The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art 22 From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument 23 The Instrument as Medium. Phonographic Work 24 How to Build an Instrument? Three Artistic Positions—Articles and Interviews i Membrane. Materialities and Intensities of Sound ii Pickups and Strings. On Experimental Preparation and Magnetic Amplification iii Mechanics. From Physicality over Symbolism through Malfunction and Back Again Notes References Contributors Index