Read more
Zusatztext A welcome and important book that greatly enriches the scope of the sound art domain and should be of considerable interest to both theorists and practitioners. Informationen zum Autor Sanne Krogh Groth is Associate Professor of Musicology at Lund University, Sweden. She is Office Director of the Sound Environment Centre, Lund University, and Co-Editor-in-Chief of the online journal Seismograf . She is author of the book Politics and Aesthetics in Electronic Music (2014) and is currently conducting field-based research on experimental music and de-colonial aesthetics in Indonesia. Holger Schulze is Professor of Musicology at the University of Copenhagen, Denmark, and Principal Investigator at the Sound Studies Lab. He is the author of numerous books including Sound as Popular Culture (2016), The Sonic Persona (Bloomsbury, 2018), and Sound Works (Bloomsbury, 2019). Klappentext The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories.A collection of original, current research that addresses the history, theory, methodology, and contemporary role of sound art. Zusammenfassung The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound. Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art--rooted in sonic histories and implying future trajectories. Inhaltsverzeichnis Sound Art. The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark) Part I After the Apocalypse. The Desert of the Real as Sound Art1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsø, Aarhus University, Denmark) 2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey) 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany) 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jørgensen, University of Copenhagen, Denmark) Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art5. " Diam! " (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden) 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin ( Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universität Berlin, Germany) 7. Four Artistic Journeysi. Pockets of Communities (Holger Schulze, University of C...
