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Leonardo Music Journal 25: "Politics of Sound Art"

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Leonardo Music Journal 25: introduction The Politics of Sound Art I am interested in a political art, that is to say an art Many of our contributors addressed aspects of field of ambiguity, contradiction, uncompleted gestures and recording in this issue of LMJ. With its quasi-documen- uncertain endings, an art (and a politics) in which tary mandate, the emergent field of phonography abounds optimism is kept in check and nihilism at bay. with political content and implications, from recordings —William Kentridge [1]. of street protests (Christopher DeLaurenti and Christo- If In 1968 someone had asked the 14-year-old me to pher Wood), to ecological advocacy (Tom Kohut, Alison define “sound art” I probably would have pointed to the Pezanoski-Browne), to compositions based on the voices megaphones that sprouted that spring across the Colum- of Cuban street vendors (Neil Leonard), to analyses of the bia University campus (see this issue’s cover). They were genre itself in terms of political agency (Gerald Fiebig, ubiquitous and frequently mishandled or malfunction- Tullis Rennie). ing: words were interlaced with feedback and obscured Political agency begins with access, and several authors by distortion. Amplifying one’s voice to address a handful focus on the role of new technologies in increasing acces- of friendly comrades under a tree seemed more of a con- sibility to music and sound. Helen R. Mitchell reports on ceptual statement than an acoustic necessity. the use of biometric computer games in the diagnosis In that turbulent year the inflection of art by politics and treatment of dementia, while Koichi Samuels reviews seemed natural, and music was one of the most conspicu- designs for “open” musical interfaces that can be easily ous vehicles of expression. The first discs to grace my kid- adapted to compensate for various disabilities. Adam die record player were by the subtly subversive Burl Ives Tinkle and Daniel Walzer both discuss novel pedagogies (blacklisted 1950), while Pete Seeger (blacklisted 1957) had for music education. provided the musical backdrop in the living room. The political and social characteristics of technology But 1968 was also the year I bought Jimi Hendrix’s itself are the subjects of several papers. Andrew Brooks Are You Experienced, and electricity became the central brings glitch into the field of queer studies. Ryan Jordan component of my musical world. To an adolescent the considers do-it-yourself (DIY) electronics as a form of artifacts of feedback and distortion seemed as much an “literal critical practice.” Shelly Knotts looks at network anti-authoritarian statement when applied to the guitar music as a means of developing nonhierarchical models as they were when they rang out at a sit-in. These were of communication and power distribution. Karen Col- the sounds of subversion, rather than of protest. While lins and Ruth Dockwray analyze the role of sound design Seeger overlaid timeless, politically neutral chords and as a rhetorical device in public service announcements. melodies with pointed lyric statements, Hendrix reshaped Nathan Thompson considers audio feedback as a tool for the underlying musical material; his message lay inside creating environmentally responsive installations. the sound itself. Providing an outline of the political topics utilized in Between the protest song and the protesting megaphone his 40 years of work, Richard Lerman discusses his use lies the wide swath of political music and sound art, the of piezo contact mikes to make recordings at sites of timely subject matter of this volume of Leonardo Music human rights abuses, while Mo H. Zareei describes his Journal. Half a century after the Sixties we are again living mechatronic sound sculptures in terms of Brutalist design in a world of intense political divisiveness, and activists theory. William A. Thompson IV and Jeffrey Albert dis- on both the left and the right have taken up sound as a cuss the role of music production and listening during medium, a weapon, and a subject of study. The time has Thompson’s deployment in Iraq following 9/11. come to review this landscape. Jing Wang contributes an overview of the current state ©2015 ISAST LEONARDO MUSIC JOURNAL, Vol. 25, pp. 1–2, 2015 1 of sound art in China, while Sandra Kazlauskaitė provides for her extraordinary Cantos Cautivos project, an online insight into similar practices in post-Soviet Lithuania. Tara archive of songs in the context of detention and torture in Rodgers takes a more global view of the political dimen- Chile under the dictatorship of Augusto Pinochet (1973– sions of electronic music and the possible pathways of 1990). Finally, Larry Polansky—founding editor of Leo­ sonic activism. nardo Music Journal—contributes a rather poignant essay Historical perspective is provided in both Adi Louria- on LMJ’s first 25 years. Hayon’s critique of the “sounding body” in the work of Art historian Susan Tallman has observed that the idea Bruce Nauman, and Martyn Hudson’s reevaluation of of “political art” suffers from an innate contradiction: the relation of sound to architecture in Kurt Schwitters’s the complexity and ambiguity of good art precludes the Merzbau. For its “political” issue in 1969 Source magazine pedantic clarity usually needed to incite political action asked 20 composers: “Have you, or has anyone ever used [2]. South African artist William Kentridge has articu- your music for political or social ends?” For this volume of lated a possible solution to that conundrum: the idea that LMJ Alyce Santoro put the same question to 20 composers ambiguity itself can constitute a defiant political statement, working today, including several who had been included which brings us back to where we started: The feedback in the earlier Source. disrupting the megaphone. Drawing on his peripatetic musical background, Lukas Ligeti curated the downloadable album Sonic Commen­ nicolas collins tary: Meaning through Hearing for this volume. In addition Editor­in­Chief Katia Chornik has contributed a short essay and web link Email: <[email protected]>. Endnote References and Notes Mark Trayle passed away in February 2015, at the age of 60. Mark was a 1 William Kentridge, in William Kentridge: Drawings for Projection, founding member of The Hub, a beloved faculty member at CalArts, and Four Animated Films (Johannesburg: Goodman Gallery, 1992) n.p. a contributor to and peer reviewer for Leonardo Music Journal. He will be missed by many, and this volume of LMJ is dedicated to his memory. 2 Conversation with author, June 2015. 2 LMJ25 Introduction lmj at 25 A Pentalustral Interlude In 1991, when we instantiated the Leonardo Music Jour- species depauperate on the earth, working our way inexo- nal, I wrote a somewhat paradoxical editorial titled “17 rably toward ourselves. Even in what used to feel like an Gloomy Sentences (and Commentary) at the turn of the unassailed United States (admittedly, only from certain millennium (in the form of an editorial)” [1]. One sen- perspectives), cataclysm insinuates itself almost daily. tence was hopeful: Ecologically we see, on a daily basis, the incipience of doom: devastating droughts in my home in California; 16. LMJ’s commitment to globalism, to experiment, to sty- listic nonboundaries, to allowing musicians to articulate ever-increasing coastal hurricanes; ecological collapses of their own work, is a humble beginning. both flora and fauna; disasters of every stripe. The world is besieged by continual and pervasive war, genocides, mi- A quarter of a century later, I remain hopeful, made so sogynistic violence and oppression. Political and socio- by the extraordinary world of music, sound and ideas that economic decision-making is dominated by corporations the LMJ community and the artistic community at large and religious fundamentalists, and the increasing malefi- continues to create. As a teacher, composer, performer cence of an out-of-control accelerating-feedback capital- and editor, I encounter daily something fascinating, new, ism. Black humor determines where we choose to live: intriguing and often wonderful that inspires me, most of pick your favorite apocalypse. Everywhere on the planet all, to “get back to work.” LMJ, under the visionary and the terrifying disparity in well-being, privilege, wealth, energetic stewardship of Nic Collins, for the past five lus- health, freedom and safety is a runaway train headed over tra has remained new, essential to the artistic world, and a cliff—in fact, maybe already over that cliff. an important resource. Given all this, how can or does it make sense to: Learn I’m still cautious, and sometimes a bit gloomy (maybe or teach in an MFA program in new media, composi- by nature)—but about different things. The composer tion, sound or digital arts? Be a sound installation or Dirk Rodney said that in art, “All is novel, nothing is new.” soundscape artist, or sonic geographer? Write new com- In my 1991 editorial I decried musical conservatism, non- positional or performance software; fabricate new “DIY” inclusivity and arbitrarily inhibitive distinctions [2]. I’m interactive technology or laser-cut your own dulcimer? less worried about those at the moment and more worried What license must we self-issue in order to use an Ar- about how artists can continue to work in a turbulent and duino card and Max patch in a college black box theater almost dystopian world in which art seems to be at best or a loft in Oakland, Berlin or Brooklyn, in order to call a luxury, at worst a dangerously misguided indulgence. attention to fracking in the Urals, systematic raping of Since I helped launch LMJ, and since I left its helm in women in India or Brazil, systematic for-profit imprison- 1997, the world (inside and out of art) has changed dra- ment of Black men in the United States? matically. The availability, ease of use and power of music- And, as Gordon Mumma often pointed out long ago, making technology have increased, literally exponentially.
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