A Sound Selection: Audio Works by Artists (1980)

12 July 2017, dusan

Catalogue for a traveling exhibition of sound art organised by Barry Rosen in collaboration with University of Hartford, Harford Art School, first held in Artists Space, New York, in 1977.

With statements by Vito Acconci, Laurie Anderson, Beth B, John Baldessari, Marge Dean, Guy de Cointet, Bruce Fier, Bob George, Jack Goldstein, Alison Knowles, Micki McGee, Jim Pomeroy, Jim Roche, Martha Rosler, Stuart Sherman, Michael Smith, Mimi Smith, Keith Sonnier, William Wegman, Lawrence Weiner, Reese Williams.

Edited by Barry Rosen
Introduction by Helene Winer
Publisher Committee for the Visual Arts, New York, 1980
[19] pages


PDF (4 MB)

Dan Lander, Micah Lexier (eds.): Sound by Artists (1990)

12 July 2017, dusan

Essays on sound art by writers and artists including Bruce Barber, John Cage, Ihor Holubizky, Douglas Kahn, Christina Kubisch, Annea Lockwood, Alvin Lucier, Christian Marclay, Ian Murray, Rita McKeough, Max Neuhaus, and many others. The book contains 35 essays and projects as well as a 21-page discography of sound recordings by artists.

Publisher Art Metropole, Toronto, and Walter Phillips Gallery, Banff/Alberta, 1990
ISBN 0920956238
385 pages

Book trailer (video, 10 min, 2013)
Review: Vanessa Nicholas (MagMag, 2014).

2013 facsimile reprint (now out of print)

PDF (100 MB, no OCR)
Selected sections in HTML: Introduction by Dan Lander, A Selection of Recorded Works by Artists (on UbuWeb)

Reductive, 1-4 (2014-15)

2 February 2017, dusan

“Experimental reflections on listening / reading practices.

Founded in 2013, Reductive Journal explores diverse approaches to text-sound compositions, examining how text and sound are related, defined and inter-permeated in various levels of experiences: listening, reading, perceiving, receiving and performing.

Each Journal is a collaboration between the editors, designers and contributing artists.”

Editors: Ryoko Akama, Heather Frasch and Daniel del Rio
Publisher Mumei, 2014-15
ISBN 97809934337

Publisher (archived)

Issue 1 (July 2014, 1 MB)
Issue 2 (January 2015, 4 MB)
Issue 3 (June 2015, 23 MB)
Issue 4 (November 2015, 38 MB)

Invisible Places, Sounding Cities: Sound, Urbanism and Sense of Place (2014)

11 November 2016, dusan

“Our proposal is to increase awareness of the importance of our local and global soundscapes and our role in their experience and design. As listeners, we are also responsible for the shape and beauty of our own soundscape. Therefore, we must open our ears.”

Proceedings from the symposium and exhibition created as part of the 4th edition of Jardins Efémeros (Ephemeral Gardens) festival in Viseu, Portugal, and consisting of 54 paper presentations, 11 artist talks and 54 audioworks.

Edited by Raquel Castro and Miguel Carvalhais
Publisher Jardins Efémeros, Viseu
ISBN 9789897460487
808 pages


PDF, PDF (36 MB)

Lucie Vágnerová: Sirens/Cyborgs: Sound Technologies and the Musical Body (2016)

6 November 2016, dusan

“This dissertation investigates the political stakes of women’s work with sound technologies engaging the body since the 1970s by drawing on frameworks and methodologies from music history, sound studies, feminist theory, performance studies, critical theory, and the history of technology. Although the body has been one of the principal subjects of new musicology since the early 1990s, its role in electronic music is still frequently shortchanged. I argue that the way we hear electro-bodily music has been shaped by extra-musical, often male-controlled contexts. I offer a critique of the gendered and racialized foundations of terminology such as “extended,” “non-human,” and “dis/embodied,” which follows these repertories. In the work of American composers Joan La Barbara, Laurie Anderson, Wendy Carlos, Laetitia Sonami, and Pamela Z, I trace performative interventions in technoscientific paradigms of the late twentieth century.

The voice is perceived as the locus of the musical body and has long been feminized in musical discourse. The first three chapters explore how this discourse is challenged by compositions featuring the processed, broadcast, and synthesized voices of women. I focus on how these works stretch the limits of traditional vocal epistemology and, in turn, engage the bodies of listeners. In the final chapter on musical performance with gesture control, I question the characterization of hand/arm gesture as a “natural” musical interface and return to the voice, now sampled and mapped onto movement. Drawing on Cyborg feminist frameworks which privilege hybridity and multiplicity, I show that the above composers audit the dominant technoscientific imaginary by constructing musical bodies that are never essentially manifested nor completely erased.”

PhD Dissertation
Publisher Graduate School of Arts and Sciences, Columbia University, 2016
Advisor: Ellie M. Hisama
242 pages



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