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Journal articles on the topic 'Sound in art'

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Published: 4 June 2021
Last updated: 3 March 2023

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1

Kelly, Conor. "Sound Art: Seeing Sound." Circa, no. 77 (1996): 29. http://dx.doi.org/10.2307/25563002.

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2

Fontana, Bill. "The Relocation of Ambient Sound: Urban Sound Sculpture." Leonardo 41, no. 2 (April 2008): 154–58. http://dx.doi.org/10.1162/leon.2008.41.2.154.

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The author describes his sound sculptures which explore how various instances of sound possess musical form. He explains the sculptural qualities of sound and the aesthetic act of arranging sound into art. Detailed descriptions of three recent works illustrate how relocating sounds from one environment to another redefines them, giving them new acoustic meanings.
3

Choi, Jeongeun. "Making Sound Art Sound: Contemporary Sound Art in the Post-Medium Condition." Journal of the Science and Practice of Music 47 (April 30, 2022): 151–93. http://dx.doi.org/10.36944/jspm.2022.04.47.151.

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4

Groth, Sanne Krogh, and Kristine Samson. "Sound Art Situations." Organised Sound 22, no. 1 (March 7, 2017): 101–11. http://dx.doi.org/10.1017/s1355771816000388.

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This article is an analysis of two sound art performances that took place in June 2015 in outdoor public spaces at the social housing areaUrbanplanenin Copenhagen, Denmark. The two performances wereOn the Productions of a Poor Acousticsby Brandon LaBelle andGreen Interactive Biofeedback Environments (GIBE)by Jeremy Woodruff. In order to investigate the complex situation that arises when sound art is staged in such contexts, the authors of this article suggest exploring the events through approaching them as ‘situations’ (Doherty 2009). With this approach it becomes possible to engage and combine theories from several fields. Aspects of sound art studies, performance studies and contemporary art studies are presented in order to theoretically explore the very diverse dimensions of the two sound art pieces. Visual, auditory, performative, social, spatial and durational dimensions become integrated within the analysis in our pursuit of the most comprehensive interpretation of the pieces possible.
5

Fryberger, Annelies. "Sounds Unheard: Reading a Sound Art Exhibition Catalog." Curator: The Museum Journal 62, no. 3 (July 2019): 415–23. http://dx.doi.org/10.1111/cura.12332.

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6

Gagne, Randy. "Sound Containers: Recent Sound Art in Toronto." Senses and Society 4, no. 1 (March 2009): 111–16. http://dx.doi.org/10.2752/174589309x388609.

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7

Dunn, Alan. "The sound of a sound art archive." Journal of Writing in Creative Practice 7, no. 3 (September 1, 2014): 459–70. http://dx.doi.org/10.1386/jwcp.7.3.459_1.

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8

Schwartz, Arman. "Musicology, Modernism, Sound Art." Journal of the Royal Musical Association 139, no. 1 (2014): 197–200. http://dx.doi.org/10.1017/s0269040300013372.

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9

Lønstrup, Ansa. "Facing sound – voicing art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 1-2 (December 1, 2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.

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This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.
10

Waller, Steven J. "Sound and rock art." Nature 363, no. 6429 (June 1993): 501. http://dx.doi.org/10.1038/363501a0.

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11

Flø, Asbjørn Blokkum. "Materiality in Sound Art." Organised Sound 23, no. 3 (December 2018): 225–34. http://dx.doi.org/10.1017/s1355771818000134.

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This article investigates the recent resurgence of kinetic sound art in light of the relationship between art and material. It does this by studying the history of mechanical musical instruments and kinetic art, the role of immateriality in the history of Western art, and the renewed focus on materiality in the arts. Materiality is key to understanding the resurgence of kinetics in sound art. The first part of this article studies the historical narratives of materiality in sound art, while the second part investigates materiality in my own works as more contemporary examples. Here the text turns to exploration of the material and acoustic properties of metal rods and plates, and suggests that direct contact with sound-producing objects provides opportunities for new art forms where the morphology of sound can be developed in dialogue with the physical objects and the surrounding space. By examining the underlying acoustic principles of rods and plates, we get a deeper understanding of the relationship between mathematical models and the actual sounding objects. Using the acoustic model with basic input parameters enables us to explore the timbral possibilities of the sound objects. This allows us to shape the spectrum of acoustic sound objects with great attention to detail, and makes models from spectromorphology relevant during the construction of the objects. The physical production of sound objects becomes both spectral composition and shaping of spatial objects. This highlights the importance of knowledge of both materials and acoustic principles, and questions the traditional perception of sound art and music as immaterial art forms.
12

Gossweiler, Peter Francis C. "Sound art with Hertz." Journal of the Acoustical Society of America 142, no. 4 (October 2017): 2614. http://dx.doi.org/10.1121/1.5014572.

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13

Hudson, Martyn, and Tim Shaw. "Dead Logics and Worlds: Sound art and sonorous objects." Organised Sound 20, no. 2 (July 7, 2015): 263–72. http://dx.doi.org/10.1017/s135577181500014x.

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From the early experimentation with specific sounds in musique concrète (Palombini 1999) to the ‘anecdotal’ music of Luc Ferrari (1996) and the ecological sound activism of Hildegard Westerkamp (2002), the collecting, composition and recomposition of sonorous objects has been central to sound practice. Some sound art has privileged a relationship with visual arts and the structuring of objects in curated spaces (Licht 2007), others with the sound worlds beyond the exhibition (Schafer 1994). By examining a specific sound art installation, Sound and Seclusion by Tim Shaw, this article reworks the idea of sonorous objects as artefacts displaying different kinds of representations, knowledges or data. This question of sonorous ‘knowledge-objects’ is particularly important as ‘collected sounds’ become incorporated into compositions away from their, often remote, spatio-temporal origin out there in the landscape. This article raises three areas for discussion. First, what can sonorous objects tell us about the pre-compositional world (Impett 2007)? Second, in what ways can we understand sonorous objects as they are reworked in compositions which re-narrate them? Third, how can we understand sonorous objects as traces and pieces of data as well as aesthetic productions? The article concludes with a case for reworking the very idea of a sonorous object in sound practices as a product of dead logics and dead worlds as it emerges in new ensembles of composition away from its origin.
14

Wang, Jing. "To Make Sounds inside a “Big Can”: Proposing a Proper Space for Works of Sound Art." Leonardo 49, no. 1 (February 2016): 38–47. http://dx.doi.org/10.1162/leon_a_00895.

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Creators of sound art consider sound as both a tangible reality and a conceptual term; sound art works rely on and use listening as their predominant mode of perception. The author contextualizes sound art in China and problematizes existing venues where sound art is performed and exhibited. She then suggests that a proper space is necessary to certain works of sound art, and she proposes the “big can” as an ideal venue, based upon previous experience with existing art spaces as well as the unique nature of sound art. Sound generates space; now it is time to make space for sound.
15

Fiebig, Gerald. "Acoustic Art Forms in the Age of Recordability." Organised Sound 20, no. 2 (July 7, 2015): 200–206. http://dx.doi.org/10.1017/s1355771815000084.

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Many theoretical accounts of sound art tend to treat it as a subcategory of either music or visual art. I argue that this dualism prevents many works of sound art from being fully appreciated. My subsequent attempt of finding a basis for a more comprehensive aesthetic of acoustic art forms is helped along by Trevor Wishart’s concept of ‘sonic art’. I follow Wishart’s insight that the status of music was changed by the invention of sound recording and go on to argue that an even more important ontological consequence of recording was the new possibility of storing and manipulating any acoustic event. This media-historic condition, which I refer to as ‘recordability’, spawned three distinct art forms with different degrees of abstraction – electroacoustic music in the tradition of Pierre Schaeffer, gallery-oriented sound art and radiogenic Ars Acustica. Introducing Ars Acustica, or radio art, as a third term provides some perspective on the music/sound art binarism. A brief look at the history of radio art aims at substantiating my claim that all art forms based on recordable sounds can be fruitfully discussed by appreciating their shared technological basis and the multiplicity of their reference systems rather than by subsuming one into another.
16

van Holsbeeck, Marnix. "Fury over sound." Arthritis Care & Research 51, no. 6 (December 8, 2004): 877–80. http://dx.doi.org/10.1002/art.20835.

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17

Lewis, Matt. "Ventriloquial Acts: Critical Reflections on the Art of Foley." New Soundtrack 5, no. 2 (September 2015): 103–20. http://dx.doi.org/10.3366/sound.2015.0073.

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18

Andueza Olmedo, María. "AN ELUCIDATION OF PUBLIC SOUND ART THROUGH A NON-SONOROUS TRADITION." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 44–60. http://dx.doi.org/10.7146/se.v2i1.5253.

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The origins of sound art are usually traced to previous sonorous artistic manifestations such as futurism or fluxus (see Labelle, 2006; Kahn, 1999). However, in non-sonorous manifestations it is also possible to appreciate some features of sound art that go beyond the dominant role that sound plays. By adding to the topic of sound art essential notions of temporality, spatial construction and social recognition, the emergence of a sonorous artistic practice which goes beyond the mere use of sound is revealed. In this sense, research in public sound art, which is the primary topic of this paper, provides three issues to which it is important to pay attention in order to pose new sound art theories and ideas: First, the viewer-listener, considered simply as a citizen; second, the city, understood as a sculptural space and a social space, and finally, derived from the previous two, the transformation of the concept of ‘space’ in the practices concerning the public sphere of art. The implementation of these concepts, which took place naturally in different artistic domains, represented the beginning of the creative use of sound and, specifically, the awakening of public sound art. For this reason, based on sound art studies, as mentioned above, the projection of the article goes beyond these writings in an attempt to connect sound art with the public space. Literature on sound art has described its origins through music, poetry, architecture and other disciplines. However, this article addresses its origin in connection with the specific area of the city. The sound installation’s pioneer, Max Neuhaus, will act as a guide towards this aim. This process allows a rereading of some of the most evocative examples of sound art and, at the same time, provides other references that will be valuable for assessing the growing interest in the creation of sound interventions in public space. The prolific career of Max Neuhaus, which covered a broad range of topics, will establish a connection between public sound art and artists and thinkers who are rarely linked to this medium. These connections will, however, offer new perspectives onto the most widely discussed topics of the discipline: temporality and spatiality. This inquiry into the roots of sound art is an attempt to make a contribution to its history, not only by way of evidence, but also through suggestions provided by works of art that are far removed from the medium of sound and by other contributions from different fields of studies.(1)
19

Wright, Alison. "Festival: The art of sound." Nature Physics 8, no. 6 (May 30, 2012): 441. http://dx.doi.org/10.1038/nphys2349.

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20

d’Escriván, Julio. "Sound Art (?) on/in Film." Organised Sound 14, no. 01 (March 26, 2009): 65. http://dx.doi.org/10.1017/s1355771809000090.

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21

Tugulov, Utkir. "Sound Capabilities In Traditional Performance." American Journal of Social Science and Education Innovations 03, no. 03 (March 25, 2021): 190–96. http://dx.doi.org/10.37547/tajssei/volume03issue03-26.

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22

Klein, Georg. "Site-Sounds: On strategies of sound art in public space." Organised Sound 14, no. 01 (March 26, 2009): 101. http://dx.doi.org/10.1017/s1355771809000132.

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23

Nakagawa, Katsushi, and Tomotaro Kaneko. "A Documentation of Sound Art in Japan: Sound Garden (1987–1994) and the Sound Art Exhibitions of 1980s Japan." Leonardo Music Journal 27 (December 2017): 82–86. http://dx.doi.org/10.1162/lmj_a_01024.

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This article examines the exhibition series Sound Garden (1987–1994) as a first step toward analyzing the sound-based artwork exhibitions of late-1980s Japan. The article begins with an outline of the series and the types of artworks exhibited therein, followed by an examination of the context in which Sound Garden was created by considering prototypes that predate the exhibition series. Finally, the authors discuss related exhibitions and highlight the educational context that inspired these presentations.
24

Hand, Brian. "Public Art Indoors: Sound and Art in Public Spaces." Circa, no. 88 (1999): 42. http://dx.doi.org/10.2307/25563399.

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25

Pinheiro, Sara. "Acousmatic Foley: Son-en-Scène." International Journal of Film and Media Arts 7, no. 2 (December 13, 2022): 125–48. http://dx.doi.org/10.24140/ijfma.v7.n2.07.

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“Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film's story-telling elements. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. This research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all sound’s fictional aspects.
26

Engström, Andreas, and Åsa Stjerna. "Sound Art or Klangkunst? A reading of the German and English literature on sound art." Organised Sound 14, no. 01 (March 26, 2009): 11. http://dx.doi.org/10.1017/s135577180900003x.

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27

Vandsoe, Anette. "Listening to the world. Sound, Media and Intermediality in Contemporary Sound Art." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 1, no. 1 (December 2, 2011): 67–81. http://dx.doi.org/10.7146/se.v1i1.4071.

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One of the newer tendencies in contemporary sound art is the use of scientific modes of data collection through laboratory set ups or field recordings, as it is for instance seen in media artist Anne Niemetz' and nano-scientist Andrew Pelling's The Dark Side of the Cell (2004) or Katie Egan and Joe Davies Audio Microscope (2000). This article tries to describe how the sound experience is conditioned by such art projects. The main argument in the article is that in such art projects we are not just experiencing ‘the world’, ‘the sound’, ‘the technology’ or ‘the listening’ but the mediating gesture happening between these positions. In order to describe this complex mediating operation the article uses a variety of media and intermedial theory particularly Lars Elleströms (Elleström, 2010) distinctions between qualified, basic and technical media. The latter is used to describe how the intermediality of such sound art projects is not just between conventional medias of art – as for instance text and sound – but between very different media aspects such as “sound” and “microphone” and “art”. On behalf of such an analysis the article claims that these art projects can be seen as an articulation of an auditory turn, in which sound no longer appears to be a transparent channel between us and the world, but rather a media conditioning that which is experienced.
28

Csinos, David M. "Light Art, Street Art, and the Art of Preaching: Sound-and-Light Shows as Public Proclamation." International Journal of Homiletics 4, no. 1 (October 1, 2020): 74–87. http://dx.doi.org/10.21827/ijh.2020.39506.

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This article examines how the phenomenon of sound-and-light shows fulfills the purposes of preaching and, as such, can be perceived as a form of public proclamation. Originating in France but now offered all over the world, these shows use large-scale video projection to display images on the facades of historic buildings, many of which are religious in nature, set to sound effects and music. The author begins by addressing three purposes of preaching that arise within homiletical discourse: testimony of God’s story, empowering transformation, and engendering encounters with God. Drawing from recent qualitative research into spectators’ experiences at sound-and-light shows, the author then examines how three specific shows serve as case studies that demonstrate that, while not sermons, they can indeed fulfill each of the purposes of preaching. As such, these spectacles can be seen as a vibrant form of proclamation amidst contemporary public settings.
29

Birtwistle, Andy. "Photographic Sound Art and the Silent Modernity of Walter Ruttmann's Weekend (1930)." New Soundtrack 6, no. 2 (September 2016): 109–27. http://dx.doi.org/10.3366/sound.2016.0086.

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30

Abd Wahab, Alia Farahin, and Khairunnisa Diyana Md Noor. "From Forest to a Song; A Process of Extracting the Soundscape of Nature into Art Songs." Formosa Journal of Applied Sciences 1, no. 3 (August 30, 2022): 285–92. http://dx.doi.org/10.55927/fjas.v1i3.1080.

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The art song is a genre performed mainly by piano and voice. This paper is about the process and the inspirational factor of creating art songs based on the Malaysian urban soundscape. The composer talks about the understanding of the sound and the process of recording certain inspirational sounds, transcribing them, and creating them into a motive. The soundscape chosen by the composer is also a contributing factor to the whole structure and meaning of the song. These motives that have been interpreted based on the recordings are then expanded and made into an art song. There are a few important features that triggered the interest of the composer upon choosing a certain sound as the main inspiration. Besides that, the paper also analyzes how these sounds affected the composer’s understanding of music and its surrounding. In order to write art songs inspired by the urban soundscape in Malaysia, there will be recording sounds of the surroundings and events that the composer feel is appropriate. The composer also includes the interpretation of sound from certain buildings or atmosphere. From these recordings or interpretations, notes are taken out to create a new motive or a short melody from it. The paper includes the process of creating the motives from the recording into a song.
31

Napolitano, Domenico, and Luigi Maria Sicca. "Organizing In Sound: Sound Art and the Organization of Space1." STUDI ORGANIZZATIVI, no. 2 (December 2021): 93–120. http://dx.doi.org/10.3280/so2021-002004.

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Starting from the assumption that music and sou"sound art" in the framework of organization studies. The paper takes the steps from the consideration proposed by sound artists and theorists that sound is not only an aesthetic object but a ‘relational medium', in which and through which social knowledge and organizational dynamics deploy. Since sound is fundamentally inseparable from space, we refer to scholarship on the organization of space and organizational aesthetics in order to show the connection between sensorial, perceptual and socio-material aspects in organizing. We explore this topic through ethnographic study of the sound art festival La Digestion, held in Naples and focused on the relation between sound and space. Adopting a constructionist view of organizing, we show how sound is part of the socio-material action-net from which organizational space performatively emerges. Thus, we argue that the perspective of "organizing in sound" can offer scholars of organization studies a method by which to more accurately study and comprehend various organizational phenomena with multimodal manifestations.
32

PARDO, CARMEN. "The Emergence of Sound Art: Opening the Cages of Sound." Journal of Aesthetics and Art Criticism 75, no. 1 (January 2017): 35–48. http://dx.doi.org/10.1111/jaac.12340.

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33

Møstad, Vincent. "Sound system aesthetics in contemporary art." Interactions: Studies in Communication & Culture 9, no. 1 (April 1, 2018): 45–59. http://dx.doi.org/10.1386/iscc.9.1.45_1.

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34

Pezanoski-Browne, Alison. "The Tragic Art of Eco-Sound." Leonardo Music Journal 25 (December 2015): 9–13. http://dx.doi.org/10.1162/lmj_a_00925.

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In this article, the author analyzes the work of two artists, Miki Yui and Jana Winderen, who respond to unprecedented ecological change by using nature field recordings as the foundational element of their compositions and installations. Their works replicate environmental dissolution and dislodge listeners from the habits and assumptions of everyday life. The author draws upon the work of sociologist Henri Lefebvre, defining rhythmanalysis, the everyday, and, in Lefebvre’s words, the “dialectical dynamic between tragedy and daily life.”
35

Collins, Nicolas. "Introduction: The Politics of Sound Art." Leonardo Music Journal 25 (December 2015): 1–2. http://dx.doi.org/10.1162/lmj_e_00922.

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36

Licht, Alan. "Sound Art: Origins, development and ambiguities." Organised Sound 14, no. 01 (March 26, 2009): 3. http://dx.doi.org/10.1017/s1355771809000028.

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Cox, Christoph. "Sound Art and the Sonic Unconscious." Organised Sound 14, no. 01 (March 26, 2009): 19. http://dx.doi.org/10.1017/s1355771809000041.

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Demers, Joanna. "Field Recording, Sound Art and Objecthood." Organised Sound 14, no. 01 (March 26, 2009): 39. http://dx.doi.org/10.1017/s1355771809000065.

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Horn, David. "The Sound World of Art Tatum." Black Music Research Journal 20, no. 2 (2000): 237. http://dx.doi.org/10.2307/779469.

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40

Keylin, Vadim. "Crash, boom, bang." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 9, no. 1 (January 22, 2020): 98–115. http://dx.doi.org/10.7146/se.v9i1.118243.

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Audience participation is a prominent thread running through much of sound art practice, yet it remains largely absent from the sound art scholarship. In this article, I argue that the most widespread methodologies employed in sound art research – roughly split into the phenomenological branch and the object-oriented branch – are ill equipped to tackle the questions of sociality and participation. Instead, I offer a framework for the study of participation in sound art – and, more broadly, for sound aesthetics in general – rooted in the pragmatist tradition. My starting point is John Dewey’s conceptualization of an artwork as an aesthetic experience developing in cycles of doing and undergoing – a structure, he claims, present in both the creative process and the reception of artworks, putting them on equal footing. I then expand this notion by turning to the contemporary pragmatist trends in creativity studies, ANT and affordance theory, introducing the concepts of we-creativity, mediation and affordance. The second half of the article focuses specifically on affordance – a relationship between a sound artwork and its audience delimiting and facilitating the possibilities for participation. I discuss the low-level affordances (facilitating elementary action) for creative listening and soundmaking and high-level affordances (facilitating complex behaviors) for creativity, experimentation and connectivity. I conclude that the pragmatist framework allows to go beyond the subject- or object-centeredness of phenomenological or object-oriented methodologies, bringing to the foreground the relational and social character of sound art.
41

Hofer, Sonya. "‘Atomic’ Music: Navigating experimental electronica and sound art through microsound." Organised Sound 19, no. 3 (November 13, 2014): 295–303. http://dx.doi.org/10.1017/s1355771814000284.

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This paper looks at microsound – an emergent term, corresponding concept and associated genre of experimental electronica appearing in the late 1990s – which animates the idea of sound as material entity, and, as I will demonstrate, ultimately complicates and expands questions concerning disciplinary boundaries. The conceptualisation of sounds as having mass or as matter, particularly on an imagined ‘atomic’ level as is implicit in microsound, has had many historical antecedents, especially in the twentieth century. However, the comparison, representation and analogy of sound as an object of material composition is a peculiar metaphor as sound has no inherent material substance. At the meeting point of microsound, a wide spectrum of musicians and listeners across genres and subgenres has converged, along with a diverse range of technologies and approaches to those technologies. In what follows, an exploration of the inception and implications of microsound will offer one instructive path that helps elucidate the intertwined relationship between sound art and experimental electronica. Thus, this paper adds to the critical dialogue regarding these complex yet drastically under-theorised fields of creative activity by using microsound to articulate specific points of connection, commonality and divergence.
42

Zurbrugg, Nicholas. "Sound art, radio art, and post‐radio performance in Australia." Continuum 2, no. 2 (January 1989): 26–49. http://dx.doi.org/10.1080/10304318909359363.

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43

Gilmurray, Jonathan. "Ecological Sound Art: Steps towards a new field." Organised Sound 22, no. 1 (March 7, 2017): 32–41. http://dx.doi.org/10.1017/s1355771816000315.

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The years since the turn of the millennium have seen an increasing number of sound artists engaging with contemporary environmental issues such as biodiversity loss, sustainability and climate change through their work, forming a growing movement of environmentally concerned sound art; however, their work has yet to achieve the recognition enjoyed by comparable environmentalist practices in almost every other art form. This article argues that this increasingly significant area of sound arts practice should be recognised as a distinct field in its own right, and proposes that it be termed ‘ecological sound art’, reflecting its equivalent in the visual arts. After establishing its current absence from both ecocritical and sound arts scholarship, it proceeds to outline some of the core approaches which characterise works of ecological sound art, as the first step towards its establishment as a coherent field of practice. The final section draws from key works of contemporary ecological theory, examining the fundamental accord that exists between the new modes of thought they propose and the ways in which we experience and relate to sound art, demonstrating that ecological sound art represents not only a significant new field of sound arts practice, but also a powerful ecological art form.
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heon, laura. "in your ear: hearing art in the twenty-first century." Organised Sound 10, no. 2 (August 2005): 91–96. http://dx.doi.org/10.1017/s1355771805000725.

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over the past century, an art form has emerged between the realms of visual art and music. created by composers and sculptors, ‘sound art’ challenges fundamental divisions between these two sister arts and may be found in museums, festivals or public sites. works of sound art play on the fringes of our often-unconscious aural experience of a world dominated by the visual. this work addresses our ears in surprising ways: it is not strictly music, or noise, or speech, or any sound found in nature, but often includes, combines and transforms elements of all of these. sound art sculpts sound in space and time, reacts to environments and reshapes them, and frames ambient ‘found sound’, altering our concepts of space, time, music and noise.
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Thompson, Nathan. "Black Field Plates: Emergent Ecologies in Sonic Art." Leonardo Music Journal 25 (December 2015): 96–98. http://dx.doi.org/10.1162/lmj_a_00946.

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Black Field Plates (2014) is a series of sound installations. The series is an investigation into the politics of emergent sound composition. By imitating the ways in which natural systems organize matter, these sound installations self-organize sound and compose music.
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Wang, Yawen. "Study of sound art in logo design in the context of new media." BCP Social Sciences & Humanities 20 (October 18, 2022): 235–39. http://dx.doi.org/10.54691/bcpssh.v20i.2208.

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New media is a form of communication that uses digital technology to provide information and services to users through computer networks, wireless communication networks and other channels. With the rapid development of new media, the form and communication of art design has changed, and logo design has started to develop from the previous two-dimensional to three-dimensional, and incorporated sound art to form sound logos, which belong to a kind of sound trademark, and the types of such sound logos are very extensive, including corporate sound logos, product sound logos, film and television sound logos, etc. This paper mainly focuses on the corporate sound logos in This article focuses on the design of the logo of the enterprise sound logo, and through the analysis and comparison with the traditional logo design, to explore the characteristics of the application of sound art in logo design, as well as the significance of the role of sound art in logo design and the future development trend.
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Van Nort, Doug. "A Collaborative Approach to Teaching Sound Sculpting, Embodied Listening and the Materiality of Sound." Organised Sound 18, no. 2 (July 11, 2013): 207–17. http://dx.doi.org/10.1017/s1355771813000125.

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This paper presents recent work in engaging both students and working professionals from a variety of disciplines and backgrounds with the practice of collective and site-specific electroacoustic music creation. The emphasis is placed on embodied, deep listening in tandem with a manual approach to sonic art creation that bridges an understanding of the interplay between digital sound manipulation, larger composed structures and the physical presentation of a work in a given space. Through a practice-oriented approach, participants gain insights into areas such as the abstract world of digital sound recording and representation, the extreme influence on this content enacted by a given sound delivery system and a given space, and the subjective experience of listening to sounds from a variety of orientations and postures, and with varying levels of understanding of the original source recordings. Finally, through a group approach to composing larger structures, participants begin to understand the often mysterious and unsaid processes involved in the normally solitary act of composing electroacoustic music.
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Wilson, Daniel. "“Electric Music” on the Victorian Stage: The Forgotten Work of J.B. Schalkenbach." Leonardo Music Journal 23 (December 2013): 79–85. http://dx.doi.org/10.1162/lmj_a_00160.

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This paper provides an overview of electrical pre-loudspeaker sound art in Victorian music halls, focusing on key figures, including one of the first female performers of an electrical musical instrument. Control of “acoustic incidents” separate from the artiste and the employment of artful presentation to create an aesthetic edifice—prerequisites of sound art—are apparent in the entertainments examined here. It is shown that the issues of today's sound art (in reconciling science with art, the coveting of the “active principle,” etc.) were also a concern in these early sound art ventures.
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Koneva, Maria Nikolayevna. "Planning Element as a Narrative Method in Moulding of Audiovisual Imagery in Documentaries." Journal of Flm Arts and Film Studies 6, no. 3 (September 15, 2014): 126–33. http://dx.doi.org/10.17816/vgik63126-133.

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The article is devoted to the artistic relevance of sound design as one of the most significant elements of film, specifically, in documentary. The author explores the phenomenon emerging at the interface of various genres and tendencies in film art focusing mainly on the auteurs conception realized through such notions as sound scale, depth and prominence of soundy.
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Bertrand, William. "Swamp, Sound, Sign: Reflections on interspecies difference in compositional practice." Organised Sound 25, no. 3 (November 30, 2020): 321–26. http://dx.doi.org/10.1017/s1355771820000278.

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Soundscape composition and environmental sound art already imply critiques and negotiations of nature/culture divide and human/non-human difference. This article, along with the composition it frames, thinks through a vision of environmental sound art that completes a link between sonic practice and its object. As a project, it navigates human/animal difference through a sonic knowing which is founded on life’s shared constitution in signs. Sounds beyond spoken words, like the signs that dominate non-human life, are foundationally non-symbolic, and the ability of environmental sound art to resemble and evoke networks of icons and indices is in some respects a privileged position of electroacoustic music. The article presents a non-dualistic sonic thinking within the decentred perspective of the environment, which emerges as a plural product of its engagements and participants. A vision for soundscape composition is presented, along with a frame for its interpretation as sonic thought, or phonosophy.
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