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Art --- art [discipline] --- video art --- new media art --- sound art --- Sculpture --- sculpture [visual works] --- public sculpture
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Art --- earthworks [sculpture] --- rubble --- sound art --- Sadr Haghighian, Natascha --- anno 1940-1949
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installations [visual works] --- animation [process] --- video art --- clay animation --- sound art --- Berg, Hans --- Djurberg, Nathalie
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Art --- installations [visual works] --- art [discipline] --- photography [process] --- video art --- performance art --- sound art --- Kreckler, Derek
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Art --- installations [visual works] --- video art --- identity --- sound art --- human figures [visual works] --- bodies [animal components] --- handicapped --- Just, Jesper
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Présente l'oeuvre de l'artiste américain, depuis la fin des années 1960, constituée de sculpture, vidéo, installation et performance. ©Electre 2015
Art --- art [fine art] --- Nauman, Bruce --- Sculptors --- Sculpteurs --- Biography --- Biographie --- Nauman, Bruce, --- Performance --- Installation --- Photographe --- installations [visual works] --- carousels [rides] --- sound art --- video art --- Kunst --- installaties [kunstwerken] --- kunst --- videokunst [kunstwerken] --- draaimolens --- geluidskunst --- Installation-art --- art [discipline] --- carousels [amusement rides]
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"Background Noise follows the development of sound as an artistic medium and illustrates how sound is put to use within modes of composition, installation, and performance. While chronological in its structure, Brandon LaBelle's book is informed by spatial thinking - weaving architecture, environments, and the specifics of location into the work of sound, with the aim of formulating an expansive history and understanding of sound art. At its center the book presupposes an intrinsic relation between sound and its location, galvanizing acoustics, sound phenomena, and the environmental with the tensions inherent in what LaBelle identifies as sound's relational dynamic. For the author, this is embedded within sound's tendency to become public expressed in its ability to travel distances, foster cultural expression, and define spaces while being radically flexible. This second expanded edition includes a new chapter on the non-human and subnatural tendencies in sound art, revisions to the text as well as a new preface by the author. Intersecting material analysis with theoretical frameworks spanning art and architectural theory, performance studies and media theory, Background Noise makes the case that sound and sound art are central to understandings of contemporary culture"--Provided by publisher.
Sound in art. --- Sound installations (Art) --- Arts, Modern --- Environmental sound installations (Art) --- Sound environments (Art) --- Sound sculpture (Art installations) --- Installations (Art) --- Sound art. --- Ars acustica --- Audio art --- Art --- Music --- Music: styles & genres --- muziekpsychologie --- muzieksociologie --- muziekgeschiedenis --- anno 1900-1999
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Art --- installations [visual works] --- art [discipline] --- National Socialism --- art theory --- political art --- Aryan [Nazi regime] --- sound art --- Breker, Arno --- Dellbrügge & de Moll --- Kiener, Hans --- Schultze-Naumburg, Paul --- Goebbels, Joseph --- Hitler, Adolf --- Heiliger, Bernhard --- Speer, Albert --- Rosenberg, Alfred
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Neue Formen der Klangerzeugung sind seit dem 18. Jahrhundert als Nebeneffekte von Laborexperimenten häufig beiläufig entdeckt und zu musikalischen Instrumenten weiterentwickelt worden. Experimentelle Wissenschaften waren somit ein Entstehungsherd akustischer Medientechniken, Apparaturen sowie Musikinstrumente und führten zu Innovationen, die für die elektroakustische Ästhetik des 20. Jahrhunderts von zentraler Bedeutung sind. Dieser Band stellt einige der inspirierenden technischen und künstlerischen Experimente vor. Die Perspektive richtet sich auf Experimentalanordnungen, akustische Medientechniken, Apparaturen und Musikinstrumente in ihrer engen Wechselwirkung mit neuen künstlerischen Ausdrucksformen der Sound-Art, in deren konzeptionellen und apparativen Kontexten zentrale Begriffe des musikalischen und medialen Wissens zur Disposition stehen oder neu gefasst werden. »In Zeiten der eingeforderten Interdisziplinarität zeigt der vorliegende Band sehr eindrücklich, dass technisch-apparative Schwellenbereiche [...] sich nicht kategorisch Disziplinen zuweisen lassen, gerade, wenn es um unterschiedliche wissenschaftliche Zugänge bzw. Perspektiven auf den Gegenstand geht. Der überaus reich bebilderte Band rückt Randständiges mit entsprechenden Positionierungen ins Licht.« Thomas Wilke, Rundfunk und Geschichte, 3/4 (2010) »Ein wichtiges, anregendes Buch zu einem Forschungsgebiet, das sich erfreulicherweise seit einiger Zeit im Aufbruch befindet.« Hans-Joachim Braun, Technikgeschichte, 79/4 (2012) »This collection of essays offers a fascinating exploration of the transitory spaces among science, music, and media history. It as a rich and valuable contribution not only to the fields of music history, science history, and sound studies, but also the emerging field of artistic research.« Peter F. Peters, Technology and Culture, 1/53 (2012) Besprochen in: Skug, 85 (2010), Didi Neidhart www.rkm-journal.de, 14.11.2011, Nicolas Romanacci www.textem.de, 11 (2011), Dominik Irtenkauf Positionen, 89 (2011), Sebastian Hanusa
Musik; Elektroakustik; Klangkunst; Sound-Art; Experimentalwissenschaft; Laborexperiment; Musikinstrumente; Klang; Medien; Technik; Mediengeschichte; Medienästhetik; Musikwissenschaft; Music; Sound; Media; Technology; Media History; Media Aesthetics; Musicology --- Media Aesthetics. --- Media History. --- Media. --- Musicology. --- Sound. --- Technology.
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