Three keywords related to sound arts that are important to your
practice/aspirations (what they mean to you and
why they are important/of interest):
| 3 keywords: | What they mean to me: | Why they are important: |
| Liberation | Hildegrad westerkamp used this word in his definition towards sound art, he decire that “sound art as a liberation from the silence of galleries and museums”. I love how he explains sound art related with galleries and museums, and personate them with feelings. This word to me define how sound could be a voice, and we are speaking out we are in process of a liberation, this could be a broader meaning of sound art, new kinds of representation. | This is important to be me because l could empathize deeper with sound art itself, which can make my future artwork more emotional and expressive. |
| Community | Community is the term that defined by Seth Cluett, which he claim that sound art is an art that “a community of people who draw on a similar set of references, techniques, histories, influences, materials.”, Which community representing unity and there isn’t a boundries but a community that you can communicate and learning from each other, we can explore ourselves inside of this category. | This is important because community created a sense of belonging to me, and how we build connections with the audience. We could explore further research more possibilities, we are still belongs to this community. |
| Identity | Identity is discussed by many sound artist, the different term of definition is also orgin from their personal understanding and experience about sound art, which identity could take a big responsibility on that, sound artist’s artwork is personal and expressive, they have their own color and own signature because of their various identity. | Identity is important to be me because this is the sign that can proof my work is mine, and encourage me to dig deeper into what l want to create. |
Read Luigi Russolo ‘The Arts of Noises: Futurist Manifesto’:
The book begins with Russolo highlighting the evolution of the soundscape, from the limited range of noises in pre-industrial eras to the vast array of sounds that have come with the advent of machinery and industrialization.
Russolo’s central argument is that the human ear has become accustomed to the wide variety of noises in the modern world, and therefore the traditional approach to music, based on a limited set of notes and timbres, is outdated. He proposes that composers should embrace the “art of noises,” incorporating the sounds of industry, transportation, and other aspects of urban life into their work.
The book also introduces a new classification system for noises, which Russolo divides into six categories: roars, whistles, whispers, screeches, noises obtained from percussion, and voices of animals and people.
To achieve this new musical aesthetic, Russolo suggests the creation of new musical instruments, which he calls “noise intoners” or “intonarumori”. These instruments are designed to replicate and control the noises of the urban environment.
Even though Russolo’s ideas were radical for his time, they anticipated many developments in 20th-century music, especially in genres like electronic and experimental music. “The Art of Noises” is thus seen as a foundational text in the field of sound art and noise music.
Key point I catched:
- Evolution of Sound: Russolo puts forward a theory of the evolution of sound, arguing that the advent of industrialization has expanded our aural palette.
- Embrace of Noise: The traditional tonal scale is seen as limited, and Russolo advocates for the incorporation of a wide array of urban and industrial noises into music.
- Creation of New Instruments: The “intonarumori” or “noise intoners” are proposed as a means to control and utilize these new sounds.
- Futurism in Music: As a key figure in the Futurist movement, Russolo’s ideas reflect the movement’s embrace of technology, speed, and the new sounds of the industrial age.
Read Emily Ann Thompson “Sound, Modernity and History”:
Emily Thompson’s work provides a detailed examination of the transformation of sound and listening practices that took place in America during the early 20th century, a period of significant cultural and technological change.
The book focuses on the birth and development of architectural acoustics during this era. Thompson explores how the rise of new technologies, such as the telephone, radio, and sound film, along with the growth of noise pollution from urban and industrial soundscapes, led to a “quest for quiet” in many quarters of American society.
She pays particular attention to the role of acoustical consultants and architects, who became increasingly important as society sought to control and manipulate sound in various environments, from concert halls and theaters to factories and offices.
Thompson also highlights the cultural shift in listening practices that occurred during this period. She argues that the modernist emphasis on visual perception was paralleled by a similar focus on auditory perception, with a growing awareness of the importance of sound and listening in everyday life.
The book is also notable for its use of a wide range of primary sources, including architectural plans, photographs, and acoustical data, which Thompson uses to recreate the soundscapes of early 20th-century America.
Key point that I catched:
- Architectural Acoustics: Thompson explores the rise of architectural acoustics as a discipline and its impact on the design of buildings and spaces.
- Cultural Shift in Listening Practices: The book discusses how listening practices changed in response to new technologies and the increasingly noisy urban environment.
- Role of Technology: The impact of new technologies, such as the telephone, radio, and sound film, on society’s relationship with sound is a key theme in the book.
- The Soundscape of Modernity: Thompson uses the concept of the “soundscape” to explore the complex interplay between sound, space, and society in early 20th-century America.
Listen BA Sound Arts tutor J Milo Taylor: https://www.mixcloud.com/Resonance/j-milo-taylor-a-history-of-sound-art-2011/