Critical Studies Reading List

Critical Studies – Sound Art Tutor – Rob Mullender

Recommended subjects for presentations and essays may be drawn from any of the artists or scholars outlined below., or for that matter any subject you think is relevant and with R.M’s agreement.

Part 1 – Epistemologies of listening, technology and the liberation of noise.

We will examine the profound effects that the technologies of recording and reproduction have visited upon the western European concepts of listening, and hence, sound’s supposed nature. We will also be Looking at the role of the ‘device’ as a continual preoccupation in sound arts discourse, and consider one or two ways of theorising such technologies.

Some Reading:

Adorno, T.W (1927/1990) The curves of the Needle. In: October, Vol. 55, (Winter, 1990), MIT Press, Cambridge Mass. pp. 48-55.[online] http://www.jstor.org/stable/778935. Accessed 12/09/2013

Driscoll, J & Rogalsky, M (2004) David Tudor's "Rainforest": An Evolving Exploration of Resonance In: Leonardo Music Journal , Vol. 14, Composers inside Electronics: Music after David Tudor [online] http://www.jstor.org/stable/1513502. Accessed 12.09.2013.

DeMarinis, P. (2011) Erased Dots and Rotten Dashes, or How to Wire Your Head for a Preservation. In: Huhtamo, E, Parikka, J (2011) Media Archaeology – Approaches, Applications and Implications. Berkley: University of California Press. pp. 211-238.

Sterne, J. (2007) Media or Instruments? Yes. In: Offscreen 11:8-9. [online] http://www.offscreen.com/Sound_Issue/sterne_instruments.pdf. Accessed 12.09.2013

Latour, B (1992) Where Are the Missing Masses? The Sociology of a Few Mundane Artifacts. In: Bijker W, and Law, J (Eds.) Shaping Technology-Building Society. Studies in Sociotechnical Change. MIT Press, Cambridge Mass. pp. 225-259 [online] http://www.bruno- latour.fr/sites/default/files/50-MISSING-MASSES-GB.pdf. Accessed 12.09.2013

Sterne, J. (2003) The Audible Past: Cultural Origins of Sound Reproduction. Durham, NC, Duke university Press

Connor, S (2000) Dumbstruck - A Cultural History of Ventriloquism. Oxford: Oxford University Press.

Gell, A (1998) Art and Agency: An Anthropological Theory. Oxford: Clarendon Press

Hankins, T. L, Silverman, R. J. (1999) Instruments and the Imagination. Princeton: Princeton University Press

Voegelin, S. (2011) Listening to Noise and Silence: Towards a Philosophy of Sound Art. London: Continuum 2 – Improvising, Scores, Events, Spaces (1)

We’ll examine the advent of sound in the arts, examining Fluxus and the milieu of conceptualist/linguistic art after Cage, the use of chance or aleatory systems as compositional strategies, the continuing problematisation and evolution of the role of the composer, and Minimalism and its malcontents. Among those artists covered will be John Cage, Cornelius Cardew, Alvin Lucier, The Sonic Arts Union: LaMonte Young, Tony Conrad, Charlemaigne Palestine, Robert Morris.

Reading:

Kotz, L. (2001) Post-Cagean Aesthetics and the "Event" Score. In: October, Vol. 95 (Winter, 2001), MA: MIT Press. pp. 54-89. [Online] http://www.jstor.org/stable/779200. Accessed 27.08.2011

Metzger, H-K & Pepper, I (1997) John Cage, or Liberated Music. In: October , Vol. 82, (Autumn, 1997), MA: MIT Press. pp. 48-61 [online] http://www.jstor.org/stable/778998.

Cox, C (2004) Visual Sounds: On Graphic Scores In Cox, C & Warner, D. (2004) Audio Culture – Readings in Modern Music. London: Continuum. pp. 187-188

Kim-Cohen, S (2009) In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. London: Continuum. Introduction [online]: http://www.kim-cohen.com/Assets/Texts/Kim-Cohen_In%20The%20Blink %20of%20an%20Ear_Introduction.pdf. Accessed 12.09.2013

Lucier, A (1998) Origins of a Form: Acoustical Exploration, Science and Incessancy. In: Leonardo Music Journal , Vol. 8, Ghosts and Monsters: Technology and Personality in Contemporary Music (1998), MA: MIT Press. pp. 5-11

Conrad, T (2004) Duration. [Online] http://tonyconrad.net/duration.htm. Accessed 4.09.2013

Joseph, B.W (2007) The Tower and the Line: Toward a Genealogy of Minimalism. In: Grey Room , No. 27 (Spring, 2007), MA: MIT Press pp. 58-81

Lely, J & Sanders, J (2012) Word Events: Perspectives on Verbal Notation. London: Continuum

Kotz, L. (2007) Words to be Looked At – Language in 1960’s Art. MA: MIT Press.

Kim-Cohen, S (2009) In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. London: Continuum.

Joseph, B.W (2008) Beyond the Dream Syndicate – Tony Conrad and the Arts After Cage. MA: MIT Press. Part 3 – Improvising, Scores, Events, Spaces (2)

We will look at the evolution of the sound object, musique concrete (GRM, IRCAM etc, electronica (germany), acousmatics, tape composition and electronica. We will also look at liberation of the voice by way of tape, text and performance. Relevant artists will include: Pierre Henry, Pierre Schaffer, Luc Ferrari, Trevor Wishart, Bernardo Parmegiani, Bernard Heidsiek, William Burroughs, Henry Chopin, Bob Cobbing.

Shaeffer, P (1966) Solfege de l'objet Sonore. [online] http://www.ubu.com/papers/schaefer_solfege.pdf. Aceessed 09/09/2013

Concannon, K (1990) Cut & Paste: Collage and the Art of Sound. [online] http://www.ubu.com/papers/concannon.html. Accessed 12.09.2013

Stockhausen, K (1958) Electronic and Instrumental Music. In: Audio Culture – Readings in Modern Music. London: Continuum. pp.370-380

Chopin, H. (1967) Why I am the Author of Sound Poetry. [online] http://www.ubu.com/papers/chopin.html. Accessed 12.09.2013

Cobbing, B (1978) Some Statements on Sound Poetry. [online] http://www.ubu.com/papers/cobbing.html. Accessed 12.09.2013

Wishart, T (1996) On Sonic Art.. London: Routledge

Kahn, D (2001) Noise, Water, Meat: A History of Sound in the Arts. MA: MIT Press.

Holmes, T (2002) Electronic and Experimental Music. London: Routledge Part 4 – Environmental sound, sound sculpture, acoustic spaces, esoteric phonography and sonification.

We will look at broader notions of sound and the spaces that it articulates. This will include: Murray Shaffer and the World Soundscape Project, Hildegaard. Westerkamp, Peter Cusack, Steven P McGreevy, Chris Watson, Steven Vitiello, Lee Patterson, Jez Riley-French. We will consider socialising of sound through its interaction with the environmental movement, acoustic architecture and the ‘hermeneutics’ of acoustic space. Will consider ongoing debates about essentialism in sound arts, the interaction between materials and meaning, materialism/linguistic post-structuralism.

Reading:

Sterne, J. (2011) The Recording That Never Wanted to be Heard. In: Pinch, T & Bijsterveld, K (Eds) The Oxford Handbook of Sound Studies. Oxford: Oxford University Press. pp.545-560. [online] http://sterneworks.org/recordingthatneverwanted.pdf. Accessed 12.09.2013.

Connor, S. (2011) Photophonics. [online] http://www.stevenconnor.com/photophonics/. Accessed 08/09/13

Cox, C (2009) Sound Art and the Sonic Unconscious. In Organised Sound (14)1. Cambridge: Cambridge University Press

Cox, C. (2011) Beyond Representation and Signification: Toward a Sonic Materialism. In Journal of Visual Culture Vol.10(2): 145-161. [online] http://faculty.hampshire.edu/ccox/Cox.JVC%20Essay %20%28Print%29.pdf.

Kahn, D (2008) VLF and Musical Aesthetics. In: Kursell (Ed.) (2008) Sounds of Science – Schall Im Labor (180019830) Berlin: Max Planck Institute for the History of Science [Online].www.mpiwg- berlin.mpg.de/Preprints/P346.PDF. Accessed on 11/7/2011

Shaffer, R.M (2003) Open ears. In: Bull, M. & Back, L(eds) The Auditory Culture Reader. Oxford: Berg. pp.25-39

Shafer, R.M (1977) The Tuning of the World. Toronto: McClelland and Stewart

Blesser B, Salter LR. (2007) Spaces Speak, Are You Listening? Massachusetts: MIT Press Part 5 – Audiovisual operations, from the studio system to structural film.

Looking at typology of effects as proposed by Michel Chion and their manipulation and subversion within post-war artists’ moving image works. Texts by Chion, Rick Altman, P. Adams Sitney, James Lastra, Bela Balazs, J & J Whitney.

Altman R(1980) Moving lips: Cinema as Ventriloquism. In: Yale French Studies [online]60.Cinema/Sound. Available from: . Accessed 19/5/2008

Balazs, S, B. (1951) Theory of the Film: Sound [Online]. https://soma.sbcc.edu/users/davega/filmst_101/FILMST_101_GENERAL_THEORY/SOUN D/Soundtheory_Balzacs.pdf. Accessed: 12/9/2013

Ball, S. (2011) Conditions of Music: Contemporary AudioVisual Spatial Performance practice. InCurtis D, Rees, A. L, White, D, Ball, S. (Eds) (2011) Expanded Cinema, Art Performance Film. London: Tate

James, R. S. (1986) AvantGarde SoundonFilm Techniques and Their Relationship to ElectroAcoustic Music. In: Musical Quarterly. 72(1). Oxford: Oxford University Press.

Birtwisle, A. (2010) Cinesonica: Sounding Film and Video. Manchester: Manchester University Press.

Chion, M. (1994). AudioVision, Sound on Screen. Claudia Gorbman (Trans. & Ed.). New York: Columbia University Press

Lastra, J. (2000) Sound Technology and the American Cinema – Perception, Representation,Modernity. New York: Columbia University Press

Curtis D (2007) A History of Artists’ Film and Video in Britain. London: BFI Publishing Critical Studies 2 - Optical Sound and Intermedia Tutor - Jan Thoben

Part 1 – History, Science and Technology of Optical Sound This section covers early technologies developed for the visual depiction of sound. We will look into the history of physics/acoustics (E.F.F. Chladni, R. Koenig, C. Wheatstone, J.-A. Lissajous, H. v. Helmholtz) and communications (A.G. Bell, E. Ruhmer). We will also cover the history of sound inscription from the phonautograph to the invention of optical sound film.

Presentations: Sound visualization in the laboratory, Sound inscription and Photophonics, The invention of soundfilm

Reading:

Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction. Durham: Duke University Press, 2006

David Pantalony, Altered Sensations. Rudolph Koenig's Acoustical Workshop in Nineteenth-Century Paris, London/ New York, 2009

Robert J. Whitaker, “The Wheastone Kaleidophone”, American Journal of Physics, August 1993, Vol. 61, No. 8, pp. 722

Martin Kemp: “Wheatstone's Waves”, Nature 394, 327 (23 July 1998)

Timothy Lenoir: “Helmholtz and the Materialities of Communication”, http://www.stanford.edu/dept/HPS/TimLenoir/HelmholtzMaterialities.pdf http://www.monoskop.org/Ernst_Chladni

Ernst Ruhmer, Wireless Telephony, in Theory and Practise, 1908, http://archive.org/details/wirelesstelepho02erskgoog

B. Allen, Eugene Lauste, Father of Sound on Film. AMPS Newsletter (22) 1997, www.amps.net/newsletters/issue22/22_lauste.htm http://www.filmsoundsweden.se

Alexander Graham Bell, “On the Production and Reproduction of Sound by Light,” American Journal of Science 20, 1880, 205–324.

Alexander Graham Bell, “Production of Sound by Radiant Energy,” Popular Science Monthly (Vol.19), New York 1881 http://www.archive.org/details/popularsciencemo19newy Part 2 – From Graphical Sound to Optophonetics: Artist-Inventors and Machine-Artworks This section is devided into three subsections and focusses early appropriations of audiovisual media technology in the arts.

The presentations will be related to the following subsections: a) Lost in translation? – Rainer Maria Rilke's audification of „Primal Sounds“ (1919)

Reading:

Friedrich Kittler, Gramophone, Film, Typewriter. Stanford, Cal., 1999 (Chapter on Phonography)

Seth Kim-Cohen, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art, London 2009 (Chapter Ohrenblick)

Katherine Hirt, When Machines Play Chopin. Musical Spirit an Automation in Nineteenth-Century German Literature, New York 2010 (Chapter: Rilkes Phonograph: the “Talking Machine” and Imagined Sound)

Volker Straebel, “The Sonification Metaphor in Instrumental Music and Sonification's Romantic Implications,” The 16th International Conference on Auditory Display (ICAD 2010) http://www.straebel.de/praxis/text/pdf_Straebel-Sonification%2520Metaphor.pdf b) Optophon(et)ics – Raoul Hausmann and László Moholy-Nagy

Reading:

Laszlo Mololy-Nagy (1985) "Production-Reproduction (1922)," in K. Passuth (ed.) Moholy-Nagy, London: Thames and Hudson, 1985, pp. 289-290. ———, "New Form in Music. Potentialities of the Phonograph (1923)," in Moholy-Nagy, pp. 291-292. ———, "Problems of the Modern Film (1928-1930)," in Moholy-Nagy, pp. 311-315. ———, "Painting and Photography (1932)," in Moholy-Nagy, pp. 318-319. ———, "New Film Experiments (1933)," in Moholy-Nagy, pp. 319-323. ———, Vision in Motion, (1947) Chicago 1965 (Chapter “soundfilm“, pp. 276–277)

Ina Blom, “The Touch through Time. Raoul Hausmann, Nam June Paik and the Transmission Technology of the Avant-Garde”, Leonardo 34.3, 2001, 209–215

Jacques Donguy, “Machine Head. Raoul Hausmann and the Optophone,” Leonardo 34.3, 2001, 217– 220

Cornelius Borck, “Sound Work and Visionary Prosthetics: Artistic Experiments in Raoul Hausmann” http://www.surrealismcentre.ac.uk/papersofsurrealism/journal4/acrobat%2520files/Borckpdf.pdf c) Graphical Sound in Germany and Russia 1920s, 30s

Reading:

Thomas Levin, “Tones from out of Nowhere”: Rudolph Pfenninger and the. Archaeology of Synthetic Sound. www.centerforvisualmusic.org/LevinPfen.pdf

Andrey Smirnov, Sound in Z. Experiments in Sound and Electronic Music in Early 20th Century Russia, Cologne Germany, 2013.

Richrd S. James, “Avant Garde Sound on Film Techniques and Their Relationship to Electro Acoustic Music,” Musical Quarterly. 72(1). Oxford: Oxford University Press., 1986

William Moritz, Optical Poetry – The Life and Work of Oscar Fischinger. Eastleigh: JohnLibbey. 2004 Part 3 – Prosthetics, Parasites and Perception (Close Reading Session) In this section we'll have a closer look at texts from the fields of interart studies, media theory, and critical theory. We will do close readings and discuss passages on media prosthetics, the role of technology in the context of interart / intersensorium studies, avantgarde theory and also theories of parasitic noise and malfunction in media.

Reading:

Craig Adcock, “Dada Cyborgs and the Imaginary of Science Fiction,” Arts Magazine 58, no. 2 (October 1983): 66–71

Arndt Niebisch, Media Parasites in the Early Avant-Garde. On the Abuse of Technology and Communication, Palgrave Macmillan New York, NY, 2012.

Peter Bürger, Theory of the Avant-Garde, Minneapolis: Minnesota UP, 1984

Michel Serres, The Parasite, Baltimore and London: Johns Hopkins University Press, 1982.

Stephen Brown, “Michel Serres, Science, Translation, and the Logic of the Parasite,” Theory, Culture ans Society, 19.3, 2002, 1–27

Dieter Daniels and Barbara U. Schmidt (Eds.), Artists as Inventors. Inventors As Artists, Hatje Cantz, Ostfildern Germany, 2008.

Caleb Kelly, Cracked Media, The Sound of Malfunction, MIT Press 2009.

Birgit Schneider: “On Hearing Eyes and Seeing Ears: A Media Aesthetics of Relationships between Sound and Image,“ in: Dieter Daniels, Sandra naumann, Jan Thoben (Eds.): See This Sound. Audiovisuology 2, Essays, König Cologne Germany, 2011.

Douglas Kahn, Noise, Water, Meat. A History of Sounds in the Arts, MIT Press, 1999.

Brey, P. (2000). 'Technology as Extension of Human Faculties.' Metaphysics, Epistemology, and Technology. Research in Philosophy and Technology, vol 19. Ed. C. Mitcham. London: Elsevier/JAI Press. http://www.utwente.nl/gw/wijsb/organization/brey/Publicaties_Brey/Brey_2000_Extension_Faculties.p df

Stephen Wilson (2002) Information Arts: Intersections of Art, Science and Technology. Massachussets: MIT Press Part 4 – Light & Sound in Expanded Cinema and Intermedia Arts We will examine the differences and similarities between the pre- and post-war approaches to optical sound. We will look at a more critical and reflexive approaches to the question of technical media in audiovisual art on the one hand and techno-utopias. We will discuss the relationship bewteen media- criticism and „conversion hysteria“ (Connor) with regard to expanded cinema and solarsonic art. (Guy Sherwin, Lis Rhodes, Steve Farer, NormanMcLagen)

Group Presentations: Optical Sound and the London FIlmmakers' Coop, Photophonic / Solarsonic Art

Reading:

Guy Sherwin, Optical Sound Films 1971 2007. London: Lux. Booklet accompanying DVD, 2007

Lis Rhodes, Light Music, in: The Tanks Programme Notes, Tate Modern, London October 2012, pp.7-9

Stephen Ball, “Conditions of Music,“ Expanded Cinema: Art Performance Film, (ed: Duncan White, A.L. Rees, David Curtis, Steven Ball), Tate Publishing, London 2011

Robert Russett and Cecile Starr, Experimental Animation. Origins of a New Art, Da Capo Press New York, NY, 1976. (especially chapters on Spinello and McLaren)

Steven Connor, Photophonics. Audiovisuality conference, University of Aarhus, 27 May 2011, http://www.stevenconnor.com/photophonics/

Christoph Cox, „Lost in Translation: Sound in the Discourse of Synaesthesia.”, Artforum (October 2005): 236–41. http://www.artforum.com/inprint/id=9502

Scott Smallwood and Jared Bielby, “Solarsonics: Patterns of Ecological Praxis in Solar-Powered Sound Art.” Musique et écologies du son / Music and ecologies of sound, Université Paris 8. 2013 http://www.ualberta.ca/%7Essmallwo/solarsonics/solarsonics.pdf

Maria Blondeel, “An Artistic Sonic Mobile Mapping System,” http://www.kunsttexte.de/2013-2/blondeel-maria-8/PDF/blondeel.pdf Part 5 – Horror Vacui: The acoustic space of the electronic image This section will cover the media archeology of the cathode ray tube as well as approaches in experimental video art (Nam June Paik, Vasulkas, Robin Fox, Synchronator et al.)

Presentations: Nam June Paik's Videology, David Tudor & Lowell Cross / Vasulkas, + comtemporary strategies

Robert Arn, “The Form and Sense of Video,” Eigenwelt der Apparatewelt. Pioneers of Electronic Art, ed. by David Dunn, Linz: Ars Electronica, 1992 http://vasulka.org/Kitchen/PDF_Eigenwelt/pdf/183-190.pdf

Yvonne Spielmann, Video. The Reflexive Medium, MIT Press, 2010

Bill Viola, “The Sound of One Line Scanning,” [online] http://www.iemed.org/publicacions/quaderns/12/The_Sound_of_One_Line_Scanning_Bill_Viola.pdf

Nam June Paik, Videa 'n' Videology, 1959-1973, Everson Museum of Art, 1974 www.vasulka.org/archive/Artists9/Weibel,Peter/weibel.pdf

Susanne Neubauer (Ed.): Nam June Paik: Exposition of Music; Electronic Television; Revisited, Exhibition "Nam June Paik. Music for all senses", Museum Moderner Kunst Stiftung Ludwig Wien, Köln 2009

Edith Decker-Phillips, Paik Video, Köln 1988 / New York 1998

Jonathan Goldman, “The Buttons on Pandora's Box: David Tudor and the Bandoneon,” American Music Vol 30, No. 1 (Spring 2012), pp. 30–60 http://www.jstor.org/stable/10.5406/americanmusic.30.1.0030

Lowell Cross, “Musica Instrumentalis,” Source: Music of the Avant Garde, Issue No. 9, 1971 http://www.fondation-langlois.org/html/e/page.php?NumPage=584

Robert Watts, David Behrman & Bob Diamond, “Cloud Music”, Eigenwelt der Apparatewelt, http://www.vasulka.org/Kitchen/PDF_Eigenwelt/pdf/152-154.pdf Critical Studies 3 – Audio-Visual Practice. Tutor: Sandra Naumann.

Part 1: The Dream of Colour Music and the Machines that made it possible – Colour Organs and Light Projection Devices

We will trace the use of light instruments as an artistic means to visualize music, from the colour organs of the 19th century to light projection devices in the early 20th century. We will examine the ideas of several artist-inventors and their self-built or custom-made machines. Artists Covered: Alexander Wallace Rimington, Mary Hallock-Greenewalt, Thomas Wilfred, Charles Dockum, Alexander Laszlo, Oskar Fischinger, Ludwig Hirschfeld-Mack, Laszlo Moholy-Nagy.

Basic Reading:

Jörg Jewanski; Sandra Naumann, “Color-Tone Analogies: A Systematic Presentation of the Principles of Correspondence", in Audiovisuology: Compendium – An Interdisciplinary Survey of Audiovisual Culture, ed. Dieter Daniels, Sandra Naumann (Cologne: Koenig 2010), 339-349. http://www.see-this-sound.at/compendium/abstract/69

Jörg Jewanski, “Color Organs: From the Clavecin Oculaire to Autonomous Light Kinetics", in Audiovisuology: Compendium – An Interdisciplinary Survey of Audiovisual Culture, ed. Dieter Daniels, Sandra Naumann (Cologne: Koenig 2010), 77–87. http://www.see-this-sound.at/compendium/abstract/43

Barbara Kienscherf, "Visual Elements in Music", in Audiovisuology: Compendium – An Interdisciplinary Survey of Audiovisual Culture, ed. Dieter Daniels, Sandra Naumann (Cologne: Koenig 2010), 213–221. http://www.see-this-sound.at/compendium/abstract/32

Further Reading: Kenneth Peacock, "Instruments to Perform Color-Music: Two Centuries of Technological Exploration.", in Leonardo, Vol. 21, No.4, 1988, 397–406. http://rhythmiclight.com/articles/InstrumentsToPerformColor.pdf

Adrian B. Klein, Colour-Music: The Art of Light (London: Lockwood, 1926). William Moritz, "The Dream of Color Music, And Machines That Made it Possible". Animation World Magazine, Vol. 2, No. 1, April 1997. http://www.awn.com/mag/issue2.1/articles/moritz2.1.html Judith Zilczer, „Music for the Eyes: Abstract Painting and Light Art“ in Visual Music: Synaesthesia in Art and Music Since 1900, ed. Brougher, Kerry et al. (London: Thames & Hudson, 2005), 24–87.  Paragraph on Light Medleys, 70–87. ------Recommendations for Presentations:

Alexander Wallace Rimington: Alexander Wallace Rimington, „A New Art: Colour-Music“,(A paper read at St. James’s Hall on June 6, 1895, published in pamphlet form by Messrs. Spottiswoode & Co., New St. Square. June 13, 1895, reprinted in ‘Colour Music, the Art of Light’, by A.B.Klein, Lockwood, London, 1930, pp 256-261. http://www.lumen.nu/rekveld/wp/?page_id=185

David Lazell, „Colour Music Light (on Rimington)“, in LIGHTS!, January 1991. http://www.strandarchive.co.uk/history/colourmusic1.htm

Alexander Wallace Rimington: Colour-Music. The Art of Mobile Colour (London: Hutchinson, 1912). http://ia801507.us.archive.org/15/items/colouartof00rimi/colouartof00rimi.pdf Lázló Moholy-Nagy (Light Space Modulator / Light Display: Black-White-Grey): Lázló Moholy-Nagy, Painting Photography Film. 1925. (Cambridge, Mass.: MIT Press, 1973).

Passuth, Krisztina. Moholy-Nagy. (London: Thames and Hudson, 1985).

Birgit Hein; Wulf Herzogenrath, Film as Film: Formal Experiment in Film 1910-1975. (London: Hayward Gallery / Arts Council of Great Britain, 1975).

Alena Williams, „Architecture and László Moholy-Nagy’s Light-Space Modulator”, in Die Realität des Imaginären - Architektur und das Digitale Bild - 10. Internationales Bauhaus-Kolloquium, Weimar, eds. Jorg H. Gleiter, Norbert Korrek, Gerd Zimmermann (Weimar: Universitätsverlag, 2008), 345-48.

Thomas Wilfred: Michael Betancourt, Thomas Wilfred’s Clavilux. (Washington: Borgo Press, 2006). Donna Stein, Thomas Wilfred: A Retrospective. (Washington: Corcoran Gallery, 1972).

Wilfred, Thomas, “Light and the Artist,” in Journal of Aesthetics and Art Criticism, No. V (June 1947), 247–255. http://rhythmiclight.com/articles/LightAndTheArtist.pdf

Stephen Eskilson „Thomas Wilfred and Intermedia: Seeking a Framework for Lumia“, in Leonardo, Vol. 36, No. 1 (February 2004), 65–68. http://muse.jhu.edu/login?auth=0&type=summary&url=/journals/leonardo/v036/36.1eskilson.pdf Part 2: Painting with the Medium of Time – Absolute Film & Visual Music

th In the early decades of the 20 century a number of painters discovered film as a medium for experimentation and explored different approaches of translating musical principles onto the moving image. We will have a look at the work of exponents of the Absolute Film in Germany in the 1920’s and Visual Music in the US in the 1930’s to 1960’s. Artists covered:

Walter Ruttmann, Hans Richter, Viking Eggeling, Oskar Fischinger, Mary Ellen Bute, Harry Smith, Jordan Belson, Len Lye, Norman McLaren

Basic Reading:

Andrea Gottdang, ”Painting and Music”, in Audiovisuology: Compendium – An Interdisciplinary Survey of Audiovisual Culture, ed. Dieter Daniels, Sandra Naumann (Cologne: Koenig 2010), 247–257. http://www.see-this-sound.at/compendium/abstract/76

Marcel Schwierin; Sandra Naumann “The Musicality of Abstract Film”, in Audiovisuology: Compendium – An Interdisciplinary Survey of Audiovisual Culture, ed. Dieter Daniels, Sandra Naumann (Cologne: Koenig 2010), 19–31. http://www.see-this-sound.at/compendium/abstract/53

Hans Richter, “Easel–Scroll–Film”, in Magazine of Art, February 1952, 78–86. http://www.evl.uic.edu/datsoupi/502/2_EaselScrollFilm_HansRichter.pdf

Walt[h]er Ruttmann, Untitled [Painting with the Medium of Time], probably 1919/1920, cited in Walter Schobert Der Deutsche Avant-garde Film der 20er Jahre / The German Avant-Garde Film of the 1920’s, (München: Goethe Institut 1989), 102. – maybe as well in Birgit Hein and Wulf Herzogenrath, eds., Film as Film: Formal Experiment in Film 1910-1975. (London: Hayward Gallery, 1975).  *pdf via S.N