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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: <http://www.jstor.org/stable/2930005>. 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
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