Can: pop music
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Brian Eno, Johnny Rotten, The Orb, U2, Red Hot Chili Peppers, Sonic Youth, Radiohead ou encore Primal Scream ont puisé leur inspiration dans la musique de ce groupe novateur qui a su créer son propre univers sonore. Chacun des membres du groupe amène une personnalité très riche mêlant rock psychédélique, soul, avant-garde et rythmes du monde. La composition instantanée(...)
Can: pop music
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Brian Eno, Johnny Rotten, The Orb, U2, Red Hot Chili Peppers, Sonic Youth, Radiohead ou encore Primal Scream ont puisé leur inspiration dans la musique de ce groupe novateur qui a su créer son propre univers sonore. Chacun des membres du groupe amène une personnalité très riche mêlant rock psychédélique, soul, avant-garde et rythmes du monde. La composition instantanée permet à chacun des musiciens d’amener sa signature musicale à ce son si particulier qu’ils obtiennent par leur maîtrise des techniques de studio. Esthète d’art-rock, Éric Deshayes analyse la discographie de Can, son parcours sur les scènes d’Europe et son impact dans le monde de la musique. Il replace ainsi dans leur contexte d’enregistrement les albums cultes d’un des groupes essentiels de la scène krautrock.
Acoustics
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Des futuristes des années 1910 aux réductionnistes à l'amorce des années 2000, l'histoire de la musique du XXe (et XXIe naissant) aura été marquée par l'idée d'expérimentation. Celle-ci parait s'être exprimée dans tous les domaines apparus alors, qu'il s'agisse entre autres de la musique électroacoustique, du jazz ou du rock. Voilà l'histoire que raconte cette anthologie,(...)
Musiques expérimentales: une anthologie transversale d'enregistrements emblématiques
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Des futuristes des années 1910 aux réductionnistes à l'amorce des années 2000, l'histoire de la musique du XXe (et XXIe naissant) aura été marquée par l'idée d'expérimentation. Celle-ci parait s'être exprimée dans tous les domaines apparus alors, qu'il s'agisse entre autres de la musique électroacoustique, du jazz ou du rock. Voilà l'histoire que raconte cette anthologie, au travers d'indomptables réfractaires à toute forme d'académisme.
Acoustics
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Kraftwerk est reconnu comme le pionnier des musiques électroniques, signant les premiers tubes électro-pop, dont le célèbre « Radioactivity ». Dans un monde saturé d’informations, une symbolique forte facilite l’installation d’un groupe dans nos mémoires. Avant les casques de Daft Punk, il y a Kraftwerk, Autobahn et The Man Machine, un panneau de signalisation d’autoroute(...)
Kraftwerk
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Kraftwerk est reconnu comme le pionnier des musiques électroniques, signant les premiers tubes électro-pop, dont le célèbre « Radioactivity ». Dans un monde saturé d’informations, une symbolique forte facilite l’installation d’un groupe dans nos mémoires. Avant les casques de Daft Punk, il y a Kraftwerk, Autobahn et The Man Machine, un panneau de signalisation d’autoroute et quatre hommes à l’allure robotique. Le groupe joue avec des codes d’identification à la fois puissamment expressifs et désarmants de simplicité. L’histoire de Kraftwerk permet de revenir sur l’émergence des musiques électroniques et de décrypter le vocabulaire de la pop en tant qu’art majeur, c’est aussi évoquer le constructivisme russe, le Bauhaus et le futurisme.
Acoustics
Figures in air
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Emerging artist and theorist Micah Silver elaborates on the impact of audio on human behavior and social space. Silver’s research ranges from Meillassoux and a triangulation of audio’s trans-substance, to Yves Klein’s Air Architecture, through La Monte Young’s Dream House, and culminates in a discussion of historically significant audio systems and their importance as(...)
Figures in air
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Emerging artist and theorist Micah Silver elaborates on the impact of audio on human behavior and social space. Silver’s research ranges from Meillassoux and a triangulation of audio’s trans-substance, to Yves Klein’s Air Architecture, through La Monte Young’s Dream House, and culminates in a discussion of historically significant audio systems and their importance as ephemeral social architectures made of air. Micah Silver is an artist and curator who studied music at Wesleyan and in MIT’s Art, Culture and Technology program. His work has been produced by Mass MoCA, Issue Project Room, Palais de Tokyo, and OK Zentrum, among other venues internationally.
Acoustics
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This publication investigates the ways in which contemporary artists are working with sound today. These artists approach sound from a variety of disciplines - visual arts, architecture, performance, computer programming and music - yet they share an interest in working with, rather than against or independent of, a given situation or environment. Their responses include(...)
Soundings : a contemporary score
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This publication investigates the ways in which contemporary artists are working with sound today. These artists approach sound from a variety of disciplines - visual arts, architecture, performance, computer programming and music - yet they share an interest in working with, rather than against or independent of, a given situation or environment. Their responses include architectural interventions, visualizations of inaudible sound, explorations of sound ricocheting within a gallery, and a range of field recordings.
Acoustics
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This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as(...)
Sounds: the ambient humanities
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This is not a book about sound. It is a study of sounds that aims to write the resonance and response they call for. John Mowitt seeks to critique existing models in the expanding field of sound studies and draw attention to sound as an object of study that solicits a humanistic approach encompassing many types of sounds, not just readily classified examples such as speech, music, industrial sounds, or codified signals. Mowitt is particularly interested in the fact that beyond hearing and listening we “audit” sounds and do so by drawing on paradigms of thought not easily accommodated within the concept of "sound studies." To draw attention to the ways in which sounds often are not perceived for the social and political functions they serve, each chapter presents a culturally resonant sound—including a whistle, an echo, a gasp, and silence—to show how sounds enable critical social and political concepts such as dialogue, privacy, memory, social order, and art-making. Sounds: The Ambient Humanities significantly engages, provokes, and contributes to the dynamic field and inquiry of sound studies.
Acoustics
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This volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established sound art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to(...)
Sound art: sound as a medium of art
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This volume maps fifty years of artists' engagement with sound. Since the beginning of the new millennium, numerous historical and critical works have established sound art as an artistic genre in its own right, with an accepted genealogy that begins with Futurism, Dada, and Fluxus, as well as disciplinary classifications that effectively restrict artistic practice to particular tools and venues. This book, companion volume to a massive exhibition at ZKM | Karlsruhe, goes beyond these established disciplinary divides to chart the evolution and the full potential of sound as a medium of art.
Acoustics
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Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of(...)
Dissonant waves: Ernst Schoen and experimental sound in the 20th century
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Dials, knobs, microphones, clocks; heads, hands, breath, voices. Ernst Schoen joined Frankfurt Radio in the 1920s as programmer and accelerated the potentials of this collision of bodies and technologies. As with others of his generation, Schoen experienced crisis after crisis, from the violence of war, the suicide of friends, economic collapse, and a brief episode of permitted experimentalism under the Weimar Republic for those who would foster aesthetic, technical, and political revolution. The counterreaction was Nazism—and Schoen and his milieux fell victim to it, found ways out of it, or hit against it with all their might. ''Dissonant waves'' tracks the life of Ernst Schoen—poet, composer, radio programmer, theorist, and best friend of Walter Benjamin from childhood—as he moves between Frankfurt, Berlin, Paris, and London. It casts radio history and practice into concrete spaces, into networks of friends and institutions, into political exigencies and domestic plights, and into broader aesthetic discussions of the politicization of art and the aestheticization of politics. Through friendship and comradeship, a position in state-backed radio, imprisonment, exile, networking in a new country, re-emigration, ill-treatment, neglect, Schoen suffers the century and articulates its broken promises.
Acoustics
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Hearing Cultures is a timely examination of the elusive, often evocative, and sometimes cacophonous auditory sense. It answers such intriguing questions as: Did people in Shakespeare's time hear differently from us? In what way does technology affect our ears? Why do people in Egypt increasingly listen to taped religious sermons? Why did Enlightenment doctors believe that(...)
Hearing cultures: essays on sound, listening and modernity (wenner gren international symposium series)
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Hearing Cultures is a timely examination of the elusive, often evocative, and sometimes cacophonous auditory sense. It answers such intriguing questions as: Did people in Shakespeare's time hear differently from us? In what way does technology affect our ears? Why do people in Egypt increasingly listen to taped religious sermons? Why did Enlightenment doctors believe that music was an essential cure? What happens acoustically in cross-cultural first encounters? The ear, as much as the eye, nose, mouth and hand, defines experience. This book shows how sound offers a refreshing new lens through which to examine culture and complex social issues.
Acoustics
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Ce livre a été publié à l'occasion de l'exposition tenue à Bourogne, l'Espace Multimédias Gantner du 23 février au 21 mars 2005. L'artiste sonore Brandon LaBelle y présentait ses oeuvres et un concert-performance.
Acoustics
October 2008, Dijon
Live bootleg, Brandon LaBelle
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Ce livre a été publié à l'occasion de l'exposition tenue à Bourogne, l'Espace Multimédias Gantner du 23 février au 21 mars 2005. L'artiste sonore Brandon LaBelle y présentait ses oeuvres et un concert-performance.
Acoustics