Intro:
In Steven Connor’s ‘Ears Have Walls: On Hearing Art’ (2005) Connor presents us with the idea that sound art has either gone outside or has the capacity to bring the outside inside. Sound work makes us aware of the continuing emphasis upon division and partition that continues to exist even in the most radically revisable or polymorphous gallery space, because sound spreads and leaks, like odour. Unlike music, Sound Art usually does not require silence for its proper presentation. Containers of silence called music rooms resonate with the aesthetics and affects on the body of a gallery space; white walls, floorboards to create optimum acoustics, and an ethereal sense of time and space. When presented in a gallery space, sound art’s well-known expansiveness and leakiness can be more highly articulated.
Steven Connor delves into the mixing and creating of sound by computerisation, as well as the habits of sound; it’s immersion, pathos and objectivity.
1st PARA:
Connor is concerned with how Sound Art is a vehicle for change in the gallery, in particular how sound can extend beyond the walls of the gallery to ventilate it with the sounds of what lies outside it, or to temporalise place. Connor discusses The Sonic Boom Exhibition held in London in 2000 which featured 23 sound artists who exhibited at The Hayward Gallery. The show featured an emphasis on sculptures or objects that produced sound. David Toop, the curator for the Sonic Boom Exhibition was faced with ‘a positively suburban problem of sound pollution’ says Connor. When one enters the exhibition one is immediately overwhelmed by a dense cloud of noise and sounds. How many sounding objects can one put into one space? David Toop defends his approach with the help of a w...
... middle of paper ...
...died hands buffet and slap His head and a scorner spits in His Face. The slapping hands are frozen in mid-air and thus trigger associations with regard to noise. This association with noise is also shown in the scorner’s spit and how it suddenly stops before it reaches Christ’s halo: In order to perceive a sound in its reality, we require the space of silence, not of carnival. Glasmeier believes that this is precisely what John Cage does in 4’33’’. There is a suggestion of noise in Cage’s work just like in Angelico’s. The performer of 4’33’’ approaches the instrument three times, giving the instrument the possibility of noise without the reality of that noise: the viewer becomes the performer, imagining how that noise may be articulated. This is just like how a blank sheet of music still embodies music without ever being played; it triggers associations with sound.
One of the many factors that have contributed to the success of Australian poetry both locally and internationally is the insightful commentary or depiction of issues uniquely Australian or strongly applicable to Australia. Many Australian poets have been and are fascinated by the issues relevant to Australia. Many in fact nearly all of these poets have been influenced or have experienced the subject matter they are discussing. These poets range from Oodgeroo Noonuccal Aboriginal and women’s rights activist to Banjo Patterson describing life in the bush. Bruce Dawe is also one of these poets. His insightful representation of the dreary, depressing life of many stay at home mothers in “Up the Wall” is a brilliant example of a poem strongly relevant to Australia.
The room was set up by having paintings on the walls with a sculpture directly in the center. This was the focal point of the room, Soundsuit, by Nick Cave. This piece was rich in color and character and I was immediately drawn to it. When I rounded the corner of the gallery there were many extravagant pieces such as Untitled #8 (2014) by Mickalene Thomas and Woman Under Willow (2014). Both pieces are inspired by Matisse, rich in color, and represent woman. The American gallery does a good job transitioning from one piece to another because each work is similar in some aspects. This gallery was less organized and different mediums were presented all throughout. There was a traditional quilt, Tar Beach 2 (1990) displayed in the same area as mediums such as wooden panels, oil pastel, and the metal hood of a car. This gallery and collection inspired by Matisse displayed many breathtaking works that I enjoyed seeing.
The book, Deaf Again, written by Mark Drolsbaugh, is an autobiography telling his life story which starts with a young boy growing up who goes through the process of losing his hearing and then, as he gets older, he struggles with trying to fit in as a normal child. When Mark was very young, he could hear fairly well then gradually he went hard of hearing until he eventually went completely deaf. Even though he had two deaf parents, the doctors advised speech therapy and hearing aids because they did not understand Deaf Culture and they thought that Mark would be a lot happier if he could hang on to his hearing persona. Throughout the rest of the book, Mark goes through a lot of stages of trying to fit in with everyone and eventually does find himself and realizes that being Deaf is not a disease, but just a part of who he is.
After reading Deaf Again I learned a lot of new things about Deaf culture and was drawn in by the story of Mark Drolsbaugh. "The hardest fight a man has to fight is to live in a world where every single day someone is trying to make you someone you do not want to be" e.e cummings. I was brought into the book immediately from this quote and realized how difficult it must have been for Mark to find his identity. He was trying to hang on to his hearing in fear of going deaf as if there was something wrong or not proper with being deaf. It took him a long time, twenty-three years to realize that the Deaf culture is receiving and it was there for him to embrace the entire time. It would be difficult to be able to hear and then slowly lose your hearing while having to communicate in the world we live in. Both his parents Sherry and Don were Deaf and I enjoyed reading the part where Mark was brought into this world through childbirth and the signing and conversation that was going on inside while the process was taking place. Like the anesthesia machine not working, which had to have been painful.
Sound Devices help convey the poet’s message by appealing to the reader’s ears and dr...
... performance pieces from becoming materialized via their documentation, one still finds many discreetly taken photographs and videos of his pieces circulating the web. Likewise, the reception of Yoko Ono’s 2003 reprisal of Cut Piece (1964) as captured by CBSnews.com’s article, “Crowd Cuts Yoko Ono’s Clothing Off” is typical of the sensationalized reception which characterizes the market consumption of avant-garde practices . So Burger was right in saying the culture industry consumes the most radical of gestures, for no one is completely outside the market, the circuit of exchange. On the other hand, no one is completely inside of it—there remain parts of humanity to which the market can stake no claim, Following this, we can perhaps write this addendum to the avant-garde demand: to integrate art within life-praxis, and make visible what is absent from both .
Michael MacDonald’S All Souls is a heart wrenching insider account of growing up in Old Country housing projects located in the south of Boston, also known as Southie to the locals. The memoir takes the reader deep inside the world of Southie through the eyes of MacDonald. MacDonald was one of 11 children to grow up and deal with the many tribulations of Southie, Boston. Southie is characterized by high levels of crime, racism, and violence; all things that fall under the category of social problem. Social problems can be defined as “societal induced conditions that harms any segment of the population. Social problems are also related to acts and conditions that violate the norms and values found in society” (Long). The social problems that are present in Southie are the very reasons why the living conditions are so bad as well as why Southie is considered one of the poorest towns in Boston. Macdonald’s along with his family have to overcome the presence of crime, racism, and violence in order to survive in the town they consider the best place in the world.
Sound is an incredibly relevant part of filmmaking. Although often misunderstood, it helps to generate a more realistic episode by recreating the sonic experience the scene needs. Its main goal is to enhance the emotions that each section is trying to convey by adding music and effects alongside moving images. Psycho (Hitchcock, 1960), is one of the most popular films of the XX Century (Thomson, 2009). Commonly recognised as a masterpiece for its cinematographic, editing and musical values, it changed cinema forever by “playing with darker prospects (…) of humanity such as sex and violence (Thomson, 2009)”. This paper will analyse the sound effects used in the shower scene and its repercussions
John Cage has always been known as a controversial and new age composer. Some say that his pieces lack the very structure that makeup classic forms. I argue that John Cage’s work Living Room Music, despite instrumentation with no set pitch, has conclusive harmonies and is in the style of a Baroque suite. This is a strange concept for some because pitch has become such a focal point around harmonic analysis when in reality it can be determined simply by ensemble texture and dominate features.
As an audience we are manipulated from the moment a film begins. In this essay I wish to explore how The Conversation’s use of sound design has directly controlled our perceptions and emotional responses as well as how it can change the meaning of the image. I would also like to discover how the soundtrack guides the audience’s attention with the use of diegetic and nondiegetic sounds.
Through this sound mass, Ligeti creates unity in this piece, as the audience hears a giant atmospheric sound by itself that exists as an independent entity. Thus, Ligeti managed to overcome the challenge that serialism faced through such “alternative paradigms”.
Jones, Jonathan. “Yoko Ono show at Guggenheim Shines Light on Pioneering Conceptual Artist”. The Guardian. 13 Mar. 2014. Web. 1 May. 2014.
Susan Sontag is one of the most incisive intellects that reflects humanity in art and the society. In the essay The Aesthetics of Silence, first published in 1969 as part of the collection Styles of Radical Will, she argues that modern art is losing its aura that abolished itself into the redundant materials, objects, language and interpretation. For her, art in the modern era plays a role similar to religion and myth in ancient time, and searching for spirituality or anti-consciousness brings the necessity of silence.
Pollack, Alan W.. “Notes on "Revolution" and "Revolution 1".” soundscapes.info. 1997. 3 October 2009 .
Sound is important in film and how it is used to drive a narrative progression. I will analyse how and why in this essay. Covering the history of sound in films and the essential component it plays in the film industry.