Journal of Science and Technology of the Arts, vol. 13, n. 1 (2021): pp. 106-109 https://doi.org/10.34632/jsta.2021.9806 OF SOUND ART SOUND OF REVIEW TOPOGRAPHY Dajuin Yao,SiegfriedZielinski. and AdamParkinson,PeterWeibel, Alexandra Supper,DavidToop Semmerling, MortenSøndergaard, Bernd Schulz,BaşakŞenova,Linnea Giuliano Obici,CarstenSeiffarthand Muzyczuk, TonyMyatt,IreneNoy, Migone, LászlóMoholy-Nagy,Daniel Kelly, BrandonLaBelle,Christof Ryo IkeshiroandAtauTanaka,Caleb Cluett, ChristophCox,JuliaGerlach, Dmitry Bulatov,GermanoCelant,Seth 1 Textsby:AchilleBonitoOliva, as aMediumof Art. MIT Press Weibel, P.Sound Art: (Ed.)(2019).Sound Keywords: Sound art;PeterWeibel; ZKM;Exhibition; Catalogue. amateur interested insoundandmusic. all articulatedinfivemain sections. A veryim-portant workforanyartistor about soundanditshistory writtenbyrenownedandiconicfiguresinart trace ofsoundasaform ofart,thebookcontainsdifferent textsandessays thousand imagesofsound artpieces. Along withaverydetailedhistorical between March2012andFebruary2013inKarlsruhe, withnearlyone mythical exhibitionSound Art, SoundasMediumof Art, that took place Germany, PeterWeibel (Odessa,1944),curatesa book/catalogueofthe Austrian artistanddirectorofZKMCenterfor Art and Media inKarlsruhe, ABSTRACT 1 . [email protected] Lund University ALDRETE BERTRAND CHAVARRÍA- 107

Journal of Science and Technology of the Arts, vol. 13, n. 1 (2021): pp. 106-109 https://doi.org/10.34632/jsta.2021.9806 visual poet,studiedcinematographyandliteratureinParis,wenttoVien in 1944Odessa,grewup andbeganhisartis-ticjourneyasa descriptions intheformofabookaboutSound Art. PeterWeibel wasborn curates an“Exhibitioncatalog”(sic)withnearlyathousandimagesand Faithful toapost-conceptualartpractice, Austrian artistPeterWeibel becoming art: soundart.Propos-ing newwordsandrefreshing Edgar manifesto promptingus toconsideranysound/noiseasapossibilityfor (p. 120)asWeibel states. “ground control”andthe “re-viewingofnotationalperformancepractice” already averygoodexampleofknow-howtodealwithconceptslike His arrangementsofthemusicbyJohannSebastian Bachforpianoare interpretation andits“newdi-mensionsoffreedom” asaliberatingact. piano virtuoso,oftenmentionedhere,understood thesubtletiesof from theXVIIICentury. FerruccioBusoni(1866-1924),composerand the imperativeandsubmissiveaspectofformal interpreta-tioninherited or David Tudor, mightcomefromafartherwayandendemicproblem: text facingmusicand“solved”inthe“liberty” of JohnCage,EarleBrown deeper excavationofthishis-torysound. plastic art-ists,shapethebodyofthisfirsttextpreparingthereaderintoa age. Futurists,Dadaists,theFluxusmovement,conceptualartistsand/or of theeffect thatatextlikethiscanprovokeinyoungartistsatanearly carefully bythenewgenerationsofartandmusic;onecanonlydream and itsarchitects,aparalleluniversethaturgestobepresentstudied notation, algebra,sonification,electronicmusicorradioart. installations, sonicart,newsoundinstruments,synaesthesia,graphic author takesintoconsiderationandclassifiesinsoundsculptures, outputs and ideas around the different recipients/emitters of sound that the of thisim-portantsectionisconstructedinaseriesartisticandiconic manifestations fromartistsofdifferent periods andgroups. The mainbody structure: thereaderwillfindawiseselectionofsoundphenomenaand output ofitsown;thebeautyandinterestthistextisbasedon introductory textthatcarefullydepictstheconceptofsoundasanartistic Germany, sameinstitutionthathas producedthispublication. in 1999isnameddirectorofZKMCenterfor Art andMediainKarlsruhe, Academy of Arts Moscow, “ÖsterreichischerKunstpreis-Medienkunst”...); (“Officier dansl’Ordredes ArtsetdesLettres”,memberoftheRussian Weibel hasaccumulatedanhors-pairquantityofawardsandrecognitions was awardedbythe“SiemensMedienkunstpreis”in1997.Sincethen, sound sculpture,digitalandpurelyplastic,hiswidecareerasa“poly-artist” varietyofworksinexpandedcinema,,photography,a producing (, Halifax,Kassel,Buffalo, Linz,)andactiveartist, obtaining afterwardsaPhD. na tostudymedicinebutthenchangedmathematicsfocusingonlogic, The introductorytextfinishes withaconclusionintheformofsmall Some oftheproblemsverywelloutlinedandevokedinthisinitial The textbecomesanarchipelagointhetopographyofsoundhistory Weibel’s immensecultureandexperienceisdisplayedinan Between severalpositionsaroundtheworldasalecturer, professor - 108

Journal of Science and Technology of the Arts, vol. 13, n. 1 (2021): pp. 106-109 https://doi.org/10.34632/jsta.2021.9806 writes abeauti-ful textaboutsound artinWhiteCubesand artgalleries, more specificpractice ofsoundart. sonification. Allthree textsareveryrevealingandsituatethereader ina text abouttheloudspeaker inartand Alexandra Supperatextabout exhibits awonderfultextaboutme-chanicsand sound,SethCluetta “Media Tech-nology in Theory andPractice” whereSiegfriedZielinski worth beingcarefullystud-ied. art piec-esintheexhibitionthat,fromapersonal pointofview, arereally Bernhard LeitnerorBruceNauman,tomention afew, proposedsound Max Eastley, StephanvonHuene, Anna Jermolaewa, Timo Kahlen, Ablinger, Cory Arcangel, HarryBer-toia,JosephBeuys,PaulDeMarinis, has wouldbecom-pletelyirresponsibleandoutofplace. Artists likePeter have arealdifficultyofexistinginsertedonmechanicalobjectsorprocesses. more interestingthanthepiecesthemselves,proofthatartisticideasdo mystery ofinterpretationorits“publicity”.Somedescrip-tionscouldbe gadgets, beingmoredependentonapowersourcetoexistthanthe digitalised processescanbeabitunfortunateanduninteresting,becoming sculptures presentedhere. the engineeredprocessesinmostofinstallations,pieces,orsound place ofartisticlibertyandliberationmusicorsoundartis,inside outstanding. Ironically, onecanjustaskwheretheaforementioned and technologicalwondersthatmostofthepiecespossessaresimply described byeachoftheartistsisveryimpressive,mechanical Arts inVienna. Weibel ResearchInstitutefordig-italCulturesattheUniversityof Applied the EuropeanartmediasceneandisdirectorofrecentlycreatedPeter practices suchasdigitalart,virtualreality, hadanimportantinfluencein Peter Weibel thathasexploredandperformedthoroughlycontem-porary wish foralesstraditionalandfarmoreinnovativeformatfromanartistlike the imagesanddescriptionsofworksarecorrectlydone,onecanonly imagina-tion, tryingtorecreatethemechanismofeachpiece. Although of theartworksdisplayedbecomesaninterestingexercisepoeticsand the cityofKarlsruhe.Readingthroughdescriptionsandfunc-tionalities and February2013atthemuseumofZKMbutalsoinfivepublicareas title ofthisbook/catalogue. The exhibitiontookplacebetweenMarch2012 itself ofZKM’s mythicalexhibitionSound Art. SoundasaMediumof Art, Achille BonitoOliva. the dematerialisationofart-workthroughsoundformsbyItaliancritic as Artwork 1959-1973followedbyaveryshortbutbeautifultextabout in Music:PotentialitiesofthePhonographandGermanoCelant’s Record introduction, wehavetwohistoricaltexts:LazloMoholy-Nagy’s NewForm Varèse’s brilliantdescriptionofmusic:anorganisationnoises. After this The nextsectionisabout “Sound Art inContext”.LinneaSemmerling Following theexhibitioncatalogue,wehavethree shortessaysabout Nevertheless, denyingthegreatinterestandcuriositythatthispart The lackofmysteryinsomethesetechnologicalwondersor This intenseexerciseofekphrasis,eachpiecebeingmainly The secondpart,themostambitiousonthisbook,iscatalogue 109

Journal of Science and Technology of the Arts, vol. 13, n. 1 (2021): pp. 106-109 https://doi.org/10.34632/jsta.2021.9806 sound art. book isarealpleasuretogetlostbetweenthehistory, imagesandtextsof to seeitinadifferent format,withprobablynewdigitalinteractions,the anyone interestedinmusicorsoundartnowadays. Although wedohope done byPeterWeibel. Suchpublicationshouldbeseriouslyconsideredfor marvellous andinspiring. Art fromaGambiarraPerspectivebyGiulianoObici,whichissimply tre uptoaPost-FukushimasceneandfinallythetextBrazilianSound Media, tracingJapanesehistoryfromthegardens,GagakuandNohthea- write amarvelloustext:SoundinJapan:Silence,Noise,Material,and considered withRussianclassicalmusic.RyoIkeshiroand Atau Tanaka the historyofsoundartistsinRussiaandtheirinfluence,aB-sidetobe Trends ofSound Art inRussiabyDimitriBulatov, wherewelearnabout section andtothebookitself:TheOtherSideofSound:Sources were formequiteremarkableandgiveaveryseriousweighttothis beautiful textaboutvisionaryBrazilianartistWalter Smetak. Three texts and thewidepanoramaofsoundartistsJuliaGerlachwritesa Cox aboutaPost-CageeraintheUSA,ChristofMigoneCanada Hotspots”, CalebKellywritingthe Australi-an Sound Art scene,Christoph music in Turkey, Dajuin Yao atextaboutChinaandthenew-born“Sonic the PolishRadioExperimentalStudio,BaşakŞenovaaboutexperimental very attractivetextaboutGermany’s situation,DanielMuzyczukabout about soundartintheUK,CarstenSeiffarth andBerndSchulzwritea An interestingconversationbetweenDavid Topp and Adam Parkinson Sound Art” wherewelearnaboutsoundartinspecificpartsoftheworld. of suchanapparatusnowadays. in Scandinaviaanddealingwiththetremendousdifficul-tyofthecreation text, directedtoanycurator, aboutthecreationofan Archive ofSound Art conclude thispart,MortenSøndergaardnarratesusaveryinteresting contributes tothissectionwithagreatessayaboutSoundPavilions. To LaBelle hasaveryinterestingtextaboutsonic-sites, Tony Myatt Irene Noyaboutthecuratorialprac-ticesinWest Germany, Brandon academic practice.Nouse,distribution orreproductionispermittedwhichdoesnotcomplywiththeseterms. and thecopyrightowner(s)arecredited andthattheoriginalpublicationinthisjournaliscited,accordancewith accepted Attribution License(CCBY).Theuse,distribution orreproductioninotherforumsispermitted,providedtheoriginal author(s) Creative CommonsAttributionLicense |Thisisanopen-accessarticledistributed underthetermsofCreativeCommons Article receivedon16/03/2021andaccepted on22/03/2021. Malmö Academy ofMusicinLundUniversity, Sweden. The authorisaPhDcandidateinMusic(Artistic ResearchFellow)atthe ACKOWLEDGEMENTS This bookreliesonaverycleverandsolidstructuremagnificently The bookendswithafinalsectiontitled“Historicalcartographyof