The Bloomsbury Handbook of Sound Art

Title Page
Copyright Page
Contents
Sound Art. The First 100 Years of an Aggressively Expanding Art Form
A Brief History of Sound Art
Is This Sound Art?
Six Battlegrounds of Sound Art
Part 1: After the Apocalypse. The Desert of the Real as Sound Art
Chapter 1: The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse
Introduction
The Sonic Aftermath
Historical Context: Commercialized Natural Sounds and Deep Ecology
The Post-Natural Condition: From Deep to Dark Ecology
Chapter 2: Composing Sociality. Toward an Aesthetics of Transition Design
“Composition”
Mid-Century Experimentalism: The New “Good Music” and the Act of Listening
The Anti-Aesthetic of Relinquishing Control and Authorship in Composing Sociality
Co-Creation, Eco-Literate (Systems-Aware) Design, and AROI
The Auditory Environment, Politics, and Social Tonality
Gift Economy, Urban Ritual, and Invented Myths
Communal Sound Banks
Social Composition with Permaculture and Urban Gardens
Chapter 3: Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art
In a Manner of Introduction: Situating Sonic Thinking
The Aesthetico-Relational Qualities of Sound Art
The Struggle for Education in São Paulo: Escolas de Luta
Rehearsing Futures: Sonic Insolence and Auditory Fabulation
“A Specific State of Time”: Tempos Verbais
Schismatic Consonance
In a Manner of Conclusion
Chapter 4: Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything
Introduction
The End of Eating Everything
The Scream of the Hybrid Medusa
Listening to the Monstrous
Transgressions
“I Speak Orange”
Giving Voice to the Shadows
Dear Daughter/Anatomy of the Chthulucene
Zones of Entanglement between Machines and Organic Selves
Dubbing, Playback, and Loose Synchronization
Vocal Kinship
Conclusion
Part 2: Journeys across the Grid. Postcolonial Transformations as Sound Art
Chapter 5: “Diam!” (Be Quiet!). Noisy Sound Art from the Global South
Global Art—Contemporary Art
Indonesian Art History as Global Art
Experimental Music, Performance, and Noise in the Global South
Entanglements Transferred
Challenges from the Global South
Tradition without the Cultural Outfit
Street Noise Activism
Controlling the Noise
Multifocal Backdrops
Unintentional Transformation?
Chapter 6: Curating Potential. Migration and Sonic Artistic Practices in Berlin
Introduction
Postcolonial Curating, and Berlin as a Global Music City of Artistic Migration
Interview with Elke Moltrecht2
The Origins of the DAAD Artists-in-Berlin Program
Interview with Julia Gerlach6
Chapter 7: Four Artistic Journeys
Chapter 7.i: Pockets of Communities
Chapter 7.ii: Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene
The City Plays its Part
Dialectical Conceptualism
About-Ness and its Other
A Freer Play of Relations
Chapter 7.iii: When I Close My Eyes Everything Is So Damn Pretty (Can’t Do the Thing You Want, Can’t Do the Thing You Want, Can’t Do the Thing You Want)
Interlude: A Self-Interview
Chapter 7.iv: Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives
Introduction
The History of the Indonesian Expanded Medium of Art
Intermedia Practices and the Emergence of Sound Art
Sound Art in Bandung
The Future of Indonesian Sound Art?
Chapter 8: Sound Art in East and Southeast Asia. Historical and Political Considerations
Introduction
How We Got to Know What We Know
Japan in the 1950s–1960s and the Development of an Art Practice
The 1960s and 1970s and the Cold War
The Agitated 1980s and 1990s
A Fluid, Connected, and Inclusive New Millennium
Part 3: Come Closer . . . Intimate Encounters as Sound Art
Chapter 9: Kiss, Lick, Suck. Micro-Orality of Intimate Intensities
Moist
Desire
Rapture
Attachment
Dream
Elemental
Chapter 10: Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-Portraits, and Shadow Walks
Introduction
Notions of Intimacy
The Sounds of Sex: Raimondo, Shetty, Lockwood
Breath: Kaddal, Biswas, Bailey, Westerkamp
Voice: Hojo, Corringham, Karikis
Chapter 11: Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art
Sensory Fusion
Sensory Depth and Breadth
Conclusion
Chapter 12: Intruders Touching You. Intimate Encounters in Audio
Delimiting: For You by Julie Tolentino
Disorienting: The Walks of Janet Cardiff and Georges Bures Miller
Sexualizing: The Artifacts of Audioporn
Affecting: The Audio Smut of Kaitlin Prest, Mitra Kaboli, Sharon Mashihi, Phoebe Wang, and Jen Ng
Sonic Extimacy: Material Encounters with Sonic Personae
Part 4: De-Institutionalize! Institutional Critique as Sound Art
Chapter 13: Inquiring into the Hack. New Sonic and Institutional Practices by Pauline Oliveros, Pussy Riot, and Goodiepal
Inquiring into the Hack
When Is it a Hack?
The Sonic Hacker in a Vectoralist Society
The “Space of Appearance”—Institutional Emergence
Goodiepal and the Institutional Hack
Conclusion
Chapter 14: Outside and Around Institutions. Two Artistic Positions
Chapter 14.i: Working in the Sounding Field
Chapter 14.ii: Conversations and Utopias
Chapter 15: Audiogrammi of a Collective Intelligence. The Composer-Researchers of S2FM, SMET, NPS, and Other Mavericks
Introduction
S2FM, SMET, NPS, and Other Mavericks
The Alternative Electroacoustic Music Scene of the 1960s
Cooperation, Total Performance, Anonymity, and Co-Signing
The Micro- and Macro-Dimensions of Sound: Notation and Scores
Sound and Visual: A Perfect Marriage
International Networks
Conclusions
Acknowledgments
Chapter 16: Sounding in Paths, Hearing through Cracks. Sonic Arts Practices and Urban Institutions
Introduction
Walls for Ears
Sounding in Paths—Guided Listening in Public Space
Hearing through Cracks
Part 5: The Sonic Imagination. Sonic Thinking as Sound Art
Chapter 17: The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound
When All Is Quiet: The Kaiser Chiefs Present Sound Art
Afrofuturist Science Sonic Theory-Fiction
Sonic Fictions as Possible Worlds: Sonic Fiction and Sound Art
Chapter 18: Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound
Prologue: The Voice of the Mother Tongue
Sonic Thinking the Father Tongue Way
Seeing Sound
Touching Sound
Embodying All Sound
Conclusion
Epilogue: Toward New Mountains
Chapter 19: “Specific Dissonances.” A Geopolitics of Frequency
A Private Ear
New Resonance
Black Noise
Contiguous Architectures
Afterthought
Chapter 20: A Universe in a Grain of Sound. The Production of Time and Sonic Fiction in Machinic Sound Art
Accidents
Interference in the Static
Creative Clamor
The Ungrounded Ground
Repairing the Clock
Time, Briefly
Revolutions of Time
Chronos and Aeon
Chronic Capitalism
Process and Reality
Sonic Fiction
Part 6: Making Sound. Building Media Instruments as Sound Art
Chapter 21: The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art
What Is a Sonic Instrument?
The Instrument as Assemblage
Key Aspects of Instrumentality
Instrumental Critique in Contemporary Sound Art: Dramatization of Instrumental Practice
Deconstruction as Instrumental Liberation: Politicizing the Sacred
A Theater of Uncanny Instrumentality
Instrumental Negotiations of Culture
Discussion and Concluding Remarks
Chapter 22: From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument
Figuring Out Hybrid Frameworks
Appropriation
Instructions and Processes
Bending and Tinkering
Learning
Conclusion
Chapter 23: The Instrument as Medium. Phonographic Work
Media Perspectives: From Sound to Tone Art to Sound Art
Media Configurations as Sound Instruments
Media Dispositives
Digital Media
Popular Culture: The Omnipresence of Sound Art
Chapter 24: How to Build an Instrument? Three Artistic Positions–Articles and Interviews
Chapter 24.i: Membrane. Materialities and Intensities of Sound
Chapter 24.ii: Pickups and Strings. On Experimental Preparation and Magnetic Amplification
The Guqin and the Lyre
Near-Death Strings
The Cure and Sonic Youth
Third Bridges Are Sex
The Moodswinger
The Nice Noise of String Preparations
Chapter 24.iii: Mechanics. From Physicality over Symbolism through Malfunction and Back Again
The Artist
Physicality and Malfunction
A Post-Digital Comment?
The Machine as Symbolizing Its Action
The Predetermined Machine
The Artistic Solution
Notes
Chapter 1
Chapter 2
Chapter 3
Chapter 6
Chapter 7.ii
Chapter 9
Chapter 10
Chapter 11
Chapter 12
Chapter 13
Chapter 14.i
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter 20
Chapter 22
Chapter 23
References
Contributors
Index