Filed under book | Tags: · antiquity, greece, mathematics, media, media history, media theory, mimesis, music, music history, song, writing
“‘Wir möchten euch Musik und Mathematik erzählen: das Schönste nach der Liebe, das Schwerste nach der Treue.’ Die beiden Worte, die den Titel einer Tetralogie aus Hellas, Roma Aeterna, Hesperien und Turing-Galaxis bilden, stehen für die Wurzeln von Kunst und Wissen: musikè, die Lust des Singens, Tanzens, Spielens heißt nach der Muse, die im Herzen alles aufbewahrt und daher davon sagen kann. Musik macht also nach, was Musen tun, seit sie auf ihrem Götterberg mit allem Singen angehoben haben. Aus fast dem selben Ursprung stammt mathesis, das Lehren im allgemeinen, und Mathematik, das Denken über Zahlen im besonderen. Bei Homer heißt mathein nämlich noch nicht zählen oder rechnen, wie Aristoteles gelehrt hat, mathôn nennt vielmehr ein dunkles Wissen, das Helden erst nach Jahrzehnten des Erfahrens in Fleisch und Blut gegangen ist. Unter den wenigen Reimen, die in Griechenohren widerhallten, blieb der alte Spruch von pathein/mathein, leiden und lernen unverloren.”
Publisher Wilhelm Fink, Munich, 2006
ISBN 3770537823, 9783770537822
Filed under journal | Tags: · experimental music, music, noise, sculpture, sound, sound art, subversion, turntablism
“The ephemeral and varied character of subversion in musical creation makes it a challenging, complex concept to clearly define and illustrate. In this issue it is approached and reflected upon via a range of experimental practices with turntables, tapes and other devices, fringe genres, sound sculptures, and alternative models of music distribution.”
Texts by Karin Weissenbrunner, Stephen Graham, John Oswald, Gary Schultz, dieb13, Antony Maubert, Jon Panther, jef chippewa, JD Zazie; interviews with Joke Lanz, Gheorghe Costinescu, Andrés Lewin-Richter; works by Graham Dunning, Martin Howse, Timo Kahlen.
Guest editor: Karin Weissenbrunner
Publisher Canadian Electroacoustic Community, Montreal, Mar 2015
Filed under journal | Tags: · listening, music, perception, sound, sound art
“Christoph Cox [stated at a recent conference on 'The Politics of Listening'] that artists’ projects must not simply be taken as illustrative of or addenda to theory, but that they propose other ways for us to listen. Coming from vastly different positions, the authors in [this] issue offer precisely such generative perspectives on listening and listening subjects from the privileged viewpoint of the practitioner. It is NOT that musicians should be the only ones to talk about sound, but that there is nevertheless a value in that specialist knowledge of music nerds who spend their days dealing with audio minutiae and the history thereof. A value which is also not to be confused with the positivist musicological valorization of such detail, but instead, a value that might still open out into an authentic interdisciplinarity.
The contributors to Issue 2 face the immense material complexity of listening head on – physically, technically, formally, politically, socially. Their contributions continually orbit the question, ‘What is Listening?,’ all the while deftly dodging all manner of all too common platitudes.” (from the Introduction)
With contributions by Lawrence English, Bill Dietz & Lawrence English, Brenda Hutchinson, Eric Laska, Budhaditya Chattopadhyay, Paolo Javier, Christian von Borries, Anna Bromley & Michael Fesca, J Zevin & Jim Ellis, Geoff Mullen, Matana Roberts, and Marc Sabat.
Edited by Bill Dietz and Woody Sullender, April 2015Comment (0)
Filed under book | Tags: · aesthetics, art, art criticism, avant-garde, film, literature, music, painting, photography, sculpture
Twelve conversations between the minimalist sculptor Carl Andre and his close friend, photographer-filmmaker Hollis Frampton, about sculpture, photography, painting, music, literature, poetry and film. The two generated the dialogues over the course of a year, from October 1962 to September 1963 mostly on evenings and weekends in Andre’s one-room apartment in Brooklyn. A number of the dialogues begin with a discussion of recently shared art encounters, proceeding to examine a wide range of topics, including the development of avant-garde aesthetics, the significance of Duchamp, the legacy of the New York School, the relevance of photography, etc.
Edited and annotated by Benjamin H.D. Buchloh
Publisher The Press of the Nova Scotia College of Art and Design and New York University Press, 1980
ISBN 0919616178, 9780919616172
PDF (first 93 of 134 pages, 24 MB)Comment (0)
Filed under book | Tags: · acousmatic sound, aesthetics, electronic music, music, music theory, philosophy of music, sound, sound studies
“Sound coming from outside the field of vision, from somewhere beyond, holds a privileged place in the Western imagination. When separated from their source, sounds seem to manifest transcendent realms, divine powers, or supernatural forces. According to legend, the philosopher Pythagoras lectured to his disciples from behind a veil, and two thousand years later, in the age of absolute music, listeners were similarly fascinated with disembodied sounds, employing various techniques to isolate sounds from their sources. With recording and radio came spatial and temporal separation of sounds from sources, and new ways of composing music.
Sound Unseen explores the phenomenon of acousmatic sound. An unusual and neglected word, “acousmatic” was first introduced into modern parlance in the mid-1960s by avant garde composer of musique concrete music Pierre Schaeffer to describe the experience of hearing a sound without seeing its cause. Working through, and often against, Schaeffer’s ideas, Brian Kane presents a powerful argument for the central yet overlooked role of acousmatic sound in music aesthetics, sound studies, literature, philosophy and the history of the senses. Kane investigates acousmatic sound from a number of methodological perspectives-historical, cultural, philosophical and musical-and provides a framework that makes sense of the many surprising and paradoxical ways that unseen sound has been understood. Finely detailed and thoroughly researched, Sound Unseen pursues unseen sounds through a stunning array of cases-from Bayreuth to Kafka’s “Burrow,” Apollinaire to Zizek, music and metaphysics to architecture and automata, and from Pythagoras to the present-to offer the definitive account of acousmatic sound in theory and practice.
The first major study in English of Pierre Schaeffer’s theory of “acousmatics,” Sound Unseen is an essential text for scholars of philosophy of music, electronic music, sound studies, and the history of the senses.”
Publisher Oxford University Press, 2014