Sound Art in 2012
Jørgen Larsson
Sound art has now become a very broad field that includes experimental music, sound sculpture, installation, performance, radio art, loudspeaker installations, electronic art, field recordings, and much more
With this issue, Kunstjournalen B-Post presents an introduction to audio art, sonic art, sound art – art that makes use of sound in one form or another. We wish to inform about and reflect on sound art, both as a phenomenon and a tradition. By featuring a handful of artists with visual presentations of their works together with other works that can be listened to ...
Sound art has now become a very broad field that includes experimental music, sound sculpture, installation, performance, radio art, loudspeaker installations, electronic art, field recordings, and much more
Key to the sound arts is an active consideration of listening as an experience that locates us in the world. The sound arts draw out listening to query how the ear conditions our perception and understanding of things. In doing so, it is my proposal that the sound arts ultimately highlight sound as a specific paradigm, and listening as a performative mechanism by which to reflect on the behaviors of audibility, and what it means to hear and to be heard.
Møllerhaug and Eide have worked together on a number of projects in fields ranging from music and language to art and philosophy: Trollofonen, Rural Readers and Archive Circus are all organised under the umbrella of Pilota.fm.
Moderna Museet in Stockholm hosted the eighth version of freq_out, a sound installation which may well be the biggest separate sound work ever to be presented at an art museum.
The sound art I focus on in my curatorial work is primarily what Bernhard Leitner once labelled «sound-space-art».
Adsonore is an interactive sound installation that should last more than 20 years. Now, just halfway through its lifespan, Adsonore is silent.
- The thing is I'm not a performer. I'm what you might call a professional listener. I think like a member of the audience, not as a composer. Perhaps that makes a difference to the way one arranges concerts. One is also part of a professional field, but not a performer oneself.
Backswimmers live most of their life underwater where they protect their habitat and call out for a mate with sound pressure up to 99.2 dB.
In an environment where images are over-abundant and the spectator's eyes are exposed to a multitude of images every day, what role can creative visual work play in alluding to auditory phenomena?
Brian Eno wanted to create music that could function as ambience, accommodating «many levels of listening attention without enforcing one in particular», being «as ignorable as it is interesting», inducing «calm and a space to think».