Digitalization, virtualization, commercialization, loss of integrity, polystylistics, liberation from any norms are the latest trends that determine the development of contemporary art. They influence the functioning of modern communication models that evolve in accordance with the achievements of technology and acquire mobility, variability and interactivity. Interaction between social processes and scientific and technological achievements is increasing, the essence of communication in the space of modern culture is being rethought, particularly, the boundary between the types of art is being levelled. The (...) latter phenomenon leads to the emergence of new instruments and methods of artistic creativity and expands the possibilities of artistic self-expression. One of the promising areas of artistic exploration is the creation of sound interactive installations. This paper proposes a classification of communication models that are based on the analysis of interactive sound installations. The classification is based on determining the degree to which audiences actions influence the final sound result of the creative action. The paper claims that the parameters of the exhibition space are important components of the installation’s structure and form. A dialogue with nature by way of incorporating sounds of nature, their imitations, and interpretations in art objects is found to be a current trend in interactive sound installations. (shrink)

Kichul Kim, né en 1969 à Séoul, a ceci de remarquable qu’il prétend — et réussit — à sculpter le son. En effet, il a une formation de sculpteur. Mais il se fascine très tôt pour le son, pour des raisons spirituelles. L’énigme du bodhisattva Gwan-eum qui, selon l’étymologie de son nom, « voit ou fait voir les sons », l’intrigue. Une intuition lui révèle — pense-t-il — de quoi il s’agit. Il va s’efforcer de le faire voir à son (...) tour. Le son fait voir, visualiser, évoquer, et on peut donc, en ce sens, voir le son. Ses installations sonores sont en général réalisées dans des formes minimales et simplifiées. Ces formes pures ne correspondent qu’au son qu’il veut diffuser. C’est le son qu’émettent des haut-parleurs, un son qu’il a enregistré et qui parle. En effet, le son, tout invisible et intangible qu’il est, par l’espace qu’il recrée et modèle, est tridimensionnel, et sculptable. Le spectateur ne peut certes pas voir ce travail sonore par ses yeux de chair, pas plus qu’il ne peut le toucher de sa main, mais son œil de l’imagination, son imagination visuelle, le construit, et en ce sens il le perçoit bien : à partir du son se crée une image, une image dont l’intensité frôle l’illusion. On a là un véritable environnement créé par le son. Inspiré par l’Extrême-Orient ancien, son art et sa pensée, Kichul Kim puise dans ses sites historiques, religieux souvent, et dans la nature, son inspiration et ses enregistrements. L’environnement particulier d’origine est rendu présent par son son, si puissamment que l’auditeur devient spectateur, recréant activement la scène originelle : spect-acteur. Plongé si profondément en lui-même, il est graduellement conduit aux portes d’une sorte de méditation, ici et ailleurs à la fois, comme hors du temps. Kichul Kim, born in 1969 in Seoul, is remarkable in that he claims—and succeeds—to carve the sound. He trained as a sculptor but was fascinated very early with the sound, for spiritual reasons. The enigma of the Bodhisattva Gwan-eum which, according to the etymology of its name, “sees or makes one see sounds”, intrigued him. He understood intuititvely what it means and tried to examplify it himself. The sound makes you see, visualize, evoke, and you can, in this sense, see the sound. His sound installations are generally performed in minimal and simplified forms. These pure forms correspond only to the sound he wants to produce. This is the sound emitted through loudspeakers, a sound that he recorded and that speaks. Indeed, the sound, as invisible and intangible as it is, thanks to the space it recreates and models, becomes three-dimensional, and “sculptable”. The spectator certainly cannot see this sonic work through his/her eyes of flesh, any more than he/she can touch it with his/her hand. But his/her eye of the imagination, the visual imagination, builds it, and in this sense he/she perceives it well: from the sound is created an image whose intensity borders on illusion. This is a real environment created by sound. Inspired by the ancient Far East, its art and thought, Kichul Kim draws from historical sites, often religious, and from nature, for his inspiration, and recordings. The particular environment of which the sounds originates is made present by the sound, so powerfully that the listener becomes a spectator, actively recreating the original scene: spect-actor. So deeply immersed in himself, he is gradually led to the gates of a kind of meditation, here and elsewhere at once, as if out of time. (shrink)

From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of (...) the twentieth and twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general. (shrink)

Les installations de musiciens, souvent acousmatiques, semblent encore marginales au sein de la musique savante. S’y attachent un ludisme régressif, art relationnel interactif, ainsi qu’un néo-futurisme encore validé par les laboratoires de création musicale, surtout autour de l’an 2000, en soi paradigme science-fictionnel de l’imaginaire collectif. Des installations rappellent des vaisseaux spatiaux. D’autres engendrent des onirismes cristallins de verres usinés. Phénoménologie naïve, ou narcissique et postmoderne découverte des sens, certaines installations, enfin, délocalisent l’écoute sur diverses parties du corps. Art-thérapie écologique, (...) l’archétype du « jardin sonore » en naît logiquement. The installations by musicians, often acousmatic, still seem marginal to sholarly music. They carry a regressive playfulness, an interactive relational art, as well as a neo-futurism still validated by the laboratories of musical creation, especially around the year 2000, in itself science-fictional paradigm of the collective imagination. Some installations evoke spaceships. Others engender crystalline fantasies of machined glass. Like naive phenomenology, or narcissistic and postmodern discovery of the senses, some installations, finally, relocate listening on various parts of the body. Ecological art therapy, the archetype of “sound garden” is logically born. (shrink)

Surprising artistic interventions in the landscape of the public everyday are psychologically, socially, and politically beneficial to individuals as well as their communities. Such interventions enable their audiences to access moments of surprising inspiration, self-reflection, and revitalization. These spontaneous moments may offer access to the experience of distance from the rational “self,” allowing the irrational and purely emotive that resides within all of us to assert itself. It is this sensual instinct that all we too frequently push aside, particularly in (...) the public realm, for the sake of our responsibilities. Urban communities in particular are persistently accosted by visual and aural advertisements and consumerist lures, that further discourage individuals from accessing their non-rational selves. Yet, I argue that it would improve the health and vibrancy of our communal lives if we encountered among others in public, even for a moment, the strong feelings of sudden elation or confusion that we generally consider to be private. I also argue that an addition could be made to the already diverse oeuvre of artistic approaches that comprise the realm of “sound art” and that it may be termed “musical intervention art” – or, simply put, music played in a circumscribed area in the form of an outdoor installation, that is designed to accost, surprise, overwhelm, and through this, actively engage. This article will describe an imaginary example of musical installation art. (shrink)

Originally published in 1936 as the final instalment of McKenzie's School Certificate series, this book explains the physical properties of sound. The text is accompanied by multiple photographs, drawings and diagrams to illustrate key points, and every chapter concludes with several questions for students to reinforce the chapter content. This book will be of value to anyone with an interest in the history of science education in Britain.

This article sets out to think through the double absence of literary language posited by Blanchot in L’Espace littéraire in the shadow cast by a consideration of Alvin Lucier’s piece I am sitting in a room and the sound installation practice of Bernhard Leitner. What I wish to suggest is that a consideration of these sound works enables us to identify a parallelism in the mechanics of the literary sign that creates the space of literature in Blanchot (...) and the phenomenological experience of the visitor entering into and thereby enacting the space of installation. If the term “phenomenological” here requires a parenthetical qualifier, this is because the double absence enacted on the sign in Blanchot is deployed here from within the visitor in the creation of the space of installation in a move that requires us to reformulate our thinking about the creation of space of all kinds. In revisiting Blanchot’s L’Espace littéraire in this way, it is suggested that the ethical and... (shrink)

Audioscan Milano explores the strategies and experiments in the field of sound and noise of Milan’s legendary Studio di Fonologia Musicale. A multimedia installation composed of hundreds of field recordings of the city of Milan, Audioscan Milano provides its audience with a multisensory experience of the urban soundscape and the opportunity to interact with it digitally. The manipulation of noise and its transformation into musical sound via sophisticated electronic equipment emulates the Studio’s audio techniques but also exposes (...) the reasons behind its failure to attract a wider audience. Visitors to Audioscan Milano expect to hear urban noise rather than musical sounds and, despite some enthusiasm around being able to mix sound objects on the map and move them around the room, they fail to appreciate the technical subtleties of the procedures behind the music. Ultimately, Audioscan Milano constitutes an important link to Italy’s musical heritage of the 1950s and 1960s and can learn from its limitations, particularly when it comes to engaging the audience to play a more active role in the auditory experience of the city. (shrink)

A journey through sound, memory, and landscapes, questioning the origins, perception, and cultural implications of music. A lifelong relation to sound and music underlies Latifa Echakhch’s work. On the occasion of her representation of the Swiss Pavilion for the 59th Venice Biennale, she has edited a volume on sound, memory, and perception. In the book, images of her installation in the Swiss Pavilion, The Concert, accompany her own writings along with this by Alexandre Babel and Francesco (...) Stocchi, the co-curators of the pavilion. The volume also includes interviews with and collected texts by François J. Bonnet, Emanuele Quinz, Maxime Guitton, Alvin Curran, Salomé Voegelin, Antoine Chessex, Jonathan Sterne, Juliette Volcler, and Raphaël Brunner. Confronting knowledge, reflection, and intuition, their combined concert of thoughts confirms how sound and music—and their absence—play a crucial role in our physical and cultural perception of the world, and how they allow us to expand our bodily and cognitive experience. This book is one of the three parts of the Swiss Pavilion; the other two are the installation and a vinyl edition of the piece composed by Alexandre Babel. (shrink)

One hundred years after Luigi Russolo's "The Art of Noises," this book exposes a cross-section of the current motivations, activities, thoughts, and reflections of composers, performers, and artists who work with noise in all of its many forms. The book's focus is the practice of noise and its relationship to music, and in particular the role of noise as musical material--as form, as sound, as notation or interface, as a medium for listening, as provocation, as data. Its contributors are (...) first and foremost practitioners, which inevitably turns attention toward how and why noise is made and its potential role in listening and perceiving. Contributors include Peter Ablinger, Sebastian Berweck, Aaron Cassidy, Marko Ciciliani, Nick Collins, Aaron Einbond, Matthias Haenisch, Alec Hall, Martin Iddon, Bryan Jacobs, Phil Julian, Michael Maierhof, Joan Arnau Pàmies, and James Whitehead (JLIAT). The book also features a collection of short responses to a two-question "interview"--"what is noise (music) to you?" and "why do you make it?"--by some of the leading musicians working with noise today. Their work spans a wide range of artistic practice, including instrumental, vocal, and electronic music; improvisation; notated composition; theater; sound installation; DIY; and software development. Interview subjects include Eryck Abecassis, Franck Bedrossian, Antoine Chessex, Ryan Jordan, Alice Kemp (Germseed), George Lewis, Lasse Marhaug, Maja Solveig Kjelstrup Ratkje, Diemo Schwarz, Ben Thigpen, Kasper Toeplitz, and Pierre Alexandre Tremblay."--Page 4 of covers. (shrink)

Fathom is a sound installation by Jane Grant and John Matthias, which was commissioned by the River Tamar Project and was premiered at the Factory Cooperage Building in Royal William Yard, Plymouth, UK in September 2013. Visitors entering the installation were able to hear live and edited sound recorded underwater in Plymouth Sound, a large estuarine body of water from which the Plym, Tamar and Hamaoze Rivers flow into the sea. Six-step ladders in the centre (...) of the installation space surrounded by several additional speakers enabled visitors to climb out of the underwater sonic environment, above the fathom, and hear live acoustic sound relayed by microphones above the water. The artists worked with a team including production manager, Simon Honywill and Martin Audio to create a sonic ‘surface’ 6ft above the ground to enable this to happen. This article will describe how Fathom was created and, in particular, will focus on how the creation of the sonic surface affected the way in which the visiting public interacted with the work. (shrink)

Le Souffle de la Terre/The Pulse of the Earth is an on-going sound work (1996–20–) by the artist L. Abenavoli. She outlines the sonification methods employed in the making of the work in an analysis of its technical and conceptual features. The work is described in terms of her artistic objectives.

Offers new insights, tools, and methodologies for the design of urban environments in relationship to noise and sound.

Par-delà toute prise de position idéologique ou politicienne, la réflexion sur l'écologie est devenue de plus en plus présente dans notre société contemporaine, et les musiciens n'ont pas tardé à se sentir fortement concernés, ce qui a suscité, de leur part, des réponses de multiples natures. Certains compositeurs ont cherché à investir des lieux plus ouverts que la traditionnelle salle de concert, tandis que d'autres ont eu recours aux moyens technologiques et médiatiques les plus récents pour capter et diffuser les (...) sons qui nous entourent afin de les reprendre à leur compte ou de dialoguer avec eux, voire les révéler tels quels. La musique ayant de plus en plus tendance à envahir notre quotidien, d'autres encore ont entrepris de créer de nouveaux types d'environnement et de signalétique sonores. Et ces tentatives s'accompagnent fréquemment de confrontations avec différentes disciplines artistiques. L'initiateur d'une telle démarche n'était-il pas Erik Satie avec sa "musique d'ameublement"? Mais qu'aurait-il pensé du matraquage de la Muzak quelques décennies plus tard? (shrink)

This intimate account of how ideas get turned into artwork—including dance performance, film, sound installation, sculpture, and painting—looks at how the material thinking that art embodies produces new understandings about individuals, their histories, and the cultures they inhabit. Discussing the philosophy of signs (images, text, and their interaction), the psychology of visual perception, and the overarching notion of mythopoeic place-making, this intellectually wide-ranging and anecdotally narrated primer provides a fresh perspective to the concept of inventing. All active practitioners (...) in the fields of performance, media, film, museum, painting, sculpture, and cultural studies will benefit from this look at how artists participate in the conceptual invention of their world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art - instituted in the modern era - were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but (...) shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00" (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012-14), which it argues was an extension of his curatorial composing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Extra Ear:Ear on the Arm BlenderStelarc Click for larger view View full resolutionFigure 1.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Collaborator Nina Sellars stands with the Blender during an installation photograph. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 2.Blender (3D Model). Teknikunst—Meat Market, Melbourne 2005. Image: Adam Fiannaca. The installation itself stands at just over 1.6 meters high and is (...) anthropomorphic in scale and structure. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 3.Blender. Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. Every few minutes the Blender automatically circulates or "blends" its contents via a system of compressed air pumps and a pneumatic actuator. Text credit: K. Conden and A. Douglas.[End Page 117] Click for larger view View full resolutionFigure 4.Ear Scaffold. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. The preoperative scaffolding that was surgically placed below the skin's surface of performance artist Stelarc. Text credit: R. Ferro. Click for larger view View full resolutionFigure 5.Blender (Biomaterial). Teknikunst—Meat Market, Melbourne 2005. Photograph: Cameron Jones. Both artists, Stelarc and Nina Sellars, undertook liposuction operations specifically for the purpose of this new work and have succeeded in securing the sanitized isolation and, most importantly, the legal ownership of the remnants of the procedures. Text credit: K. Conden and A. Douglas. Click for larger view View full resolutionFigure 6.Hole Hooks Forceps. As a guest at Cornell University's conference "Digital Bodies" in 2001, Stelarc spoke of his desire to implant an ear that could pick up sound. His plans become a reality in the photograph taken during surgery. Text credit: R. Ferro. Click for larger view View full resolutionFigure 7.Extra Ear: Ear on the Arm. Los Angeles, Melbourne 2006. Photographer: Nina Sellars. Stelarc's future plans are to implant Bluetooth technology into the Ear on the Arm in a subsequent surgery so that the ear will pick up sound which will be transmitted via the Internet. Text credit: R. Ferro. Click for larger view View full resolutionFigure 8.Blender (Sterile Hood). Teknikunst—Meat Market, Melbourne 2005. Photograph: Stelarc. The biomaterials are now housed within the Blender's industrial casing, on exhibition at the Meat Market Gallery B in North Melbourne until August 18. Text credit: K. Conden and A. Douglas.[End Page 118]Stelarc- Biographical NotesStelarc is an Australian artist who has performed extensively in Japan, Europe, and the USA—including new music, dance festivals, and experimental theater. He has used medical instruments, prosthetics, robotics, Virtual Reality systems, and the Internet to explore alternate, intimate, and involuntary interfaces with the body. He has performed with a THIRD HAND, a VIRTUAL ARM, a VIRTUAL BODY and a STOMACH SCULPTURE. He has acoustically and visually probed the body—having amplified brainwaves, blood-flow and muscle signals and filmed the inside of his lungs, stomach, and colon, approximately two meters of internal space. He has done twenty-five body SUSPENSIONS with insertions into the skin, in different positions and varying situations in private gallery spaces and in remote locations.For FRACTAL FLESH, as part of Telepolis in 1995, he developed a touch-screen interfaced Muscle Stimulation System, enabling remote access, actuation, and choreography of the body. Performances such as PING BODY and PARASITE (1996, 1997) probe notions of telematic scaling and the engineering of external, extended, and virtual nervous systems for the body using the Internet. In 1998 for Kampnagel, he completed EXOSKELETON—a pneumatically powered six-legged walking machine actuated by arm gestures. During 2000, he completed an EXTENDED ARM—a manipulator with eleven degrees-of-freedom that extends his arm to primate proportions and a MOTION PROSTHESIS—an intelligent, compliant servo-mechanism that enables the performance of precise, repetitive, and accelerated prompting or programming of the arms in real time. In 2002, with the collaboration of the Evolutionary and Adaptive Systems Group, COGs, University of Sussex, and TNTU, the HEXAPOD robot prototype was developed. The six-legged MUSCLE MACHINE was constructed with the assistance of The Nottingham Trent University Engineering team, using fluidic rubber muscle actuators. The PROSTHETIC... (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Contemporary art is increasingly reverting to notions of the index to image the slow changes and catastrophic destructions caused by climate breakdown. Looking at Gideon Mendel’s photo series Watermarks (since 2011), Tomonari Nishikawa’s short film sound of a million insects, light of a thousand stars (2014), and Santiago Sierra’s installation 52 Canvases Exposed to Mexico City’s Air (2019), the essay analyzes three positions that employ analog techniques of direct exposure to the elements and to toxicity. They use the (...) index to create artworks that function as collaborative testimonies of human and non-human witnessing work, prompting a re-reading of Rosalind Krauss’ two-part essay “Notes on the Index” (1977) for the present. Central to such a re-reading is the form the testimonies take on. I describe them as indexical abstractions, seeing in them images that are materially connected to the world yet expressing that involvement in non-mimetic ways. The works cite the idiom of abstract art not only to show that modernism has put the planet into distress but to also find a pictorial code operating beyond the confines of linear perspective. By doing so, they give expression to what Timothy Morton has called the hyperobject of climate change, creating pictures that combine image and imagination, thereby asking viewers to approach them – and the world they index – with care. (shrink)

After a long time, people are still debating over “Cartesian-like Dualism” (CLD), i.e. towards the separation of “res-extensa” from “res-cogitans”. Since we suspect that this is due to a general attraction of mind towards the darkness of metaphysics, we have investigated the mental origin of this attraction. In human mind, we can envisage three different functional levels emerging one from the other like in a Matrioska; the three levels cause the arousal of as many forms of “dualisms”: 1) The 1st-level (...) corresponds to the “Dual-state” of mind, an archetypic dualism made of Unconscious Mind (UM, the domain of biophysical/biochemical signals) and Conscious Mind (CM, the domain of thoughts, images and sounds), genetically committed to reciprocal and fruitful interactions. 2) the 2nd-level corresponds to “Double-perspective” dualism; it emerges from CM’s splitting into two opposite perspectives: the 1st-order perspective (1PP) (subjective, emotional, Self-oriented, etc.) and the 3rd-order perspective (3PP) (rational, objective, Self-detached, etc.), that are in psychological contraposition. During individual growth, Ego-sense installs in CM with the illusion of possessing FW, and dominates 1PP. Conversely, 3PP is typically interested in scientific argumentations and investigations; so, 3PP confutes 1PP’s convictions on scien-tific bases (e.g. 1PP’s conviction that the binomial Ego-FW is real). Yet, on the one hand, 3PP hasn’t got a scientific alternative to explain “who we really are”, on the other hand, 1PP exhibits a great success in everyday life cognition. Then, we necessarily step over the dualism of the 3rd-level, “Cartesian-like Dualism” (CLD). The emotional origin of this CLD holds back 1PP’s trick to claim its supremacy over 3PP. (shrink)

Avec le salariat et le rassemblement des ouvriers sur les mêmes lieux, dans le même temps et pour une tâche commune, la surveillance est apparue comme plus « nécessaire ». Les techniques se sont naturellement installées dans l'univers de la surveillance au travail, marquant plusieurs étapes. Autrefois, vigiles, contremaîtres et cadres assuraient la surveillance. Une seconde étape a été matérialisée par l'installation des automatismes de première génération, avec les badges notamment. La troisième étape a enrichi les dispositifs du recours (...) à la vidéo, avec la capture des images et des sons. Plus récemment, la cyber-surveillance a pris place, avant que les techniques biométriques n'apparaissent. Le caractère de plus en plus intrusif des moyens de la surveillance apparaît avec leur possible mise en oeuvre à l'insu des « surveillés ». Dans cet univers, la Cnil doit s'assurer du respect de l'esprit et des termes de la loi Informatique et Libertés. Mais chacun doit être appelé à la vigilance et veiller personnellement au bon usage des traces qu'il laisse et qui peuvent aller sommeiller dans un fichier jusqu'au jour où...!With salaried employment and the presence of an entire workforce in the same premises and at the same time, supervision is considered as increasingly "necessary". Technology has naturally become established in the world of workplace supervision, developing through different stages. In the past, the task was entrusted to security guards, foremen and supervisors. Next came first-generation automation, particularly with the introduction of badges. The third phase brought in video recordings, with image and sound capture. More recently, cyber-supervision was frequently used before being superseded by biométrie techniques. With today's possibilities for installing work supervision systems without the knowledge of those being supervised, they have become increasingly prevalent. The French data protection authority is responsible for enforcing observance of the terms and the spirit of the French data protection act . However, it is up to each one of us to be vigilant and to make sure, individually, that the digital traces we leave behind us are properly used and are not waiting patiently in some obscure archive for the day when .. (shrink)

Even though music and visual art have often been performed or installed together in the same places, sound-as-art entered the gallery space only after composers explored the idea of visualizing music, encouraging artists to use scores, sounds, and noises as plastic material. While it’s true that sound poetry was practiced by Futurist and Dadaist artists in the late nineteenth century1 and that Marcel Duchamp was working with the musical score from as early as 1913,2 it took almost another (...) forty years, and the work of avant-garde composers such as John Cage, to open up the definition of music and push sound towards visual art.The story is familiar: In 1952, with the first... (shrink)

The purpose of this article is to explore the concept of rhythm as enabling relations and thus as an appropriate mode of analysis for digital sound art installation. In particular, the article argues for a rhythmanalysis of the sonic event as a ‘vibrating sensation’ (Deleuze and Guattari) that incorporates the virtual without necessarily actualizing it. Picking up on notions such as rhythm, time, affect, and event, particularly through their discussion in relation to Susanne Langer’s work, I argue for (...) the consideration of the sonic event as an instance of a different kind of temporality subsisting underneath clock-time and sense perception. Ultimately, and this is the position of this essay, an investigation into experimental projects that interweave digital, sound, and aesthetic dimensions enables the articulation of a rhythmic time that helps account for the unknown, indeterminate, and unintentional forces immanent to the sonic. (shrink)

When Blanchot sketches the obscure space of the other night, he describes it primarily in terms of sound. The vocation of the other night, the domain of inspiration, which is approached because it promises to enable artistic works but ultimately puts them at the utmost risk, turns out to be one’s own “eternally reverberating echo.” In my article, I want to trace how such nocturnal sounds are articulated in works of art across different media, especially by staging breath. Echoing (...) Blanchot, these works indicate how hearing the night and hearing breath, the sound of physical inspiration, coincides with hearing what constitutes the respective work’s medial and material bases. In Virginia Woolf’s novels Jacob’s Room and The Waves, an impersonal, neutral narrative voice resounds in a “murmur of air,” “tremulous with breathing,” spreading darkness across space and time. The visitors’ exploration of Kimsooja’s installation To Breathe: Bottari ends in a completely dark anechoic chamber where visitors start hearing their own breath. By creating this uncanny moment of hearing one’s own respiration as an external and disembodied sound, the spatial installation points to what essentially determines it: the bodily movements of the participants. “Nightmarket,” a track by Burial, is a labyrinthine soundscape consisting mainly of muffled whispering, rustling, crackling and audible breath. Through the acoustic proximity of the recorded breath and the vinyl crackles, the track evokes its own medial constitution and history: it displays traces of the organic basis of voice as well as the analogue medium in the digital. (shrink)

Postmodern culture is usually defined as an age of mechanical reproduction and mechanical degeneration characterized by the eradication of performative aura. This article argues that a crucial distinction should be made between the `anti-auratic' arguments of mainstream 20th-century cultural theory (discussed here in terms of the writings of Benjamin, Baudrillard and Virilio), and the regenerative auratic tradition in 20th-century avant-garde performance (discussed here in terms of the successive explorations of the multimediated body in the work of the Italian Futurist Marinetti, (...) the French sound poet Henri Chopin and the Australian cybernetic body artist, Stelarc). If Baudrillard's and Virilio's most extreme hypotheses argue that postmodern technology reduces the body to the condition of the handicapped, Marinetti, Chopin and Stelarc all demonstrate how technological modifications of the body reinforce the impact of installation art and performance art exploring (and manifesting) individual identity. Significantly, the most interesting subtexts in Benjamin's, Baudrillard's and Virilio's arguments all qualify their accounts of the alleged `death' of aura, and in Baudrillard's case now emphasize the ways in which photography `rediscovers' aura. (shrink)

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what (...) is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

RESUMO O intuito deste artigo é estudar o objetivo principal da estética musical de Boulez, para o início das comemorações de seus 90 anos, desde certas categorias de Deleuze, considerando que elas nos permitem compreender e delinear uma lógica da sensação sonora. Se Deleuze se ocupou em detalhe do trabalho de Francis Bacon, por exemplo, a fim de criar uma "lógica da sensação visual" em que o conceito de "Figura" fosse central, propomos que o trabalho musical de Boulez, analisado a (...) partir do pensamento de Deleuze, possa mostrar os momentos decisivos de uma "lógica da sensação sonora." Por meio de alguns trabalhos de Boulez podemos ver dois elementos muito importantes para nossa pesquisa dados na estrutura instalada pela filosofia de Deleuze. Esses dois elementos que darão forma a este artigo são: as "figuras" da música e as "forças" do som expressivo. ABSTRACT This article aims to study the main objective of musical aesthetics of Boulez, to begin to commemorate 90 years, since certain categories of Deleuze, as they allow us to understand and outline a logic of sound sensation. If Deleuze worked in detail the work of Francis Bacon, for example, to create a "logic of visual sensation" where the concept of "Figure" is central, we propose that the musical work of Boulez, analyzed from Deleuze's thought, be possible to show the decisive moments of a "logic of sound sensation." Along some works by Boulez we can see two very important elements for our research in the framework installed Deleuze's philosophy are given. These two elements will shape this article are: the "figures" of music and the "forces" expressive sound. (shrink)

In this book, scholars and artists explore the relation between electronic music and bodily expression from perspectives including aesthetics, philosophy of mind, phenomenology, dance and interactive performance arts, sociology, computer music and sonic arts, and music theory, transgressing disciplinary boundaries and established beliefs. The historic decoupling of action and sound generation might be seen to have distorted or even effaced the expressive body, with the retention of performance qualities via recoupling not equally retaining bodily expressivity. When, where, and what (...) is the body expressed in electronic music then? The authors of this book reveal composers', performers', improvisers' and listeners' bodies, as well as the works' and technologies' figurative bodies as a rich source of expressive articulation. Bringing together humanities' scholarship and musical arts contingent upon new media, the contributors offer inspiring thought and critical reflection for all those seriously engaged with the aesthetics of electronic music, interactive performance, and the body's role in aesthetic experience and expression. Performativity is not only seen as being reclaimed in live electronic music, interactive arts, and installations; it is also exposed as embodied in the music and the listeners themselves. (shrink)

Any methodological application in the field of philosophy for children implies study of the progression of the thought processes and practical learning capacities. Firstly, from a point of view of the method, which in order to be a valid construction must be based on sound paradigmatic structures and thereby be applicable in practice. These requirements both theoretical and practical are integral and demand together a means of identification of the progression of thought processes, one which is imbued both with (...) a dynamic conception of thought and with a practical conception of learning. The dialectic conflict enables this progression to be charted. It is an essential concept of both the Lipman theories of child philosophy and socio-constructivism, while at the same time remaining in-dissociable from pragmatic linguistics. This federating paradigmatic position is the essential element in constituting a tool which is capable of accounting for the progression of thought in the learning process in the research community. Thereby it becomes possible to conceive of a framework both methodological and conceptual which constructs the dialectic conflict along with the actual dialectic thought, revealing a basic contradiction. The learning process of thought itself therefore reverberates with the exercise of thinking, itself rendered by language as an interlocutory process. This analysis of the progression of conceptual thought in child philosophy can therefore enable the construction of a method only if it is in schematised form and is capable of taking on the cohesion essential to the dialectic conflict. The schematisation of a dialectic progression can therefore be recognised as a tool which enables the constituting process of conceptual thought to be identified. This schematisation is made up of a system of classification marks recording the common denominators making up the prerequisites of thought : differentiation of single and multiple, identical and different, relative and absolute and the part from the whole. This first instalment describes the schematic tool, firstly by presenting the constituting elements, then listing the operative procedures, to conclude with an example of its application. It prefigures a more generalised application which would focus on a methodology which would satisfy more fully the solidarity of its founding requirements.Identifier la progression de la pensée, dans la pratique et l’apprentissage du philosopher, constitue une préoccupation inhérente à toute application méthodologique en philosophie pour enfants. Du point de vue de la méthode, tout d’abord, celle-ci exige pour sa validité constitutive de reposer sur une structure paradigmatique autant fondatrice qu’apte à garantir son essence même, soit son applicabilité. L’exigence théorétique et l’exigence pratique s’appellent donc mutuellement pour fonder la nécessité d’un instrument d’identification de la progression de la pensée, qui soit imprégné autant d’une conception dynamique du penser que d’une conception pratique de l’apprendre à penser. Le conflit dialectique permet de structurer cette progression. Il est au coeur autant des fondements lipmanniens de philosophie pour enfants que dans ceux du socioconstructivisme, tout en étant indissociable de toute linguistique pragmatique. Cette position paradigmatique fédératrice en fait le domaine privilégié de la constitution d’un instrument qui soit à mène de rendre compte d’une progression de la pensée dans le processus d’apprentissage de la communauté de recherche. À partir de là, il devient envisageable d’entreprendre la mise en place d’un cadre tant méthodologique que conceptuel qui conçoit le conflit dialectique en solidarité avec la pensée dialectique elle-même, qui se dévoile aporétique. L’apprentissage du penser est ainsi mis en résonance avec l’exercice du penser, lui-même rendu par le langage en communauté interlocutoire. L’analyse interlocutoire de la progression de la pensée conceptuelle en philosophie pour enfants peut donc, sur cette base, permettre la constitution d’une méthode qui, si elle est schématisée formellement, peut être en mesure d’assumer la cohésion fondée par le conflit dialectique. La schématisation d’une progression dialectique apparaît ainsi comme un instrument permettant l’identification du processus constitutif de la pensée conceptuelle. Cette schématisation se compose d’un système de cotation signalant les dénominateurs communs constituant la possibilité même de la pensée : l’un et le multiple, l’identique et le différent, le relatif et l’absolu et enfin la partie et le tout. Ce premier volet présente cet instrument schématique, tout d’abord en exposant son processus constitutif, puis en déroulant son protocole opératoire, pour terminer sur un exemple d’application. Il préfigure une application plus généralisée qui viserait une méthodologie satisfaisant davantage la solidarité de ses exigences fondatrices. (shrink)

Anamnesis (Swiatlo Dnia) was written as an aftermath of a six-day performative installation at the twelfth-century castle in Trancoso, Portugal with the participation of local women and men, mainly farmers. It was written concurrently while working on the editing of the video and the sound, which I filmed and recorded on site (or, as I think of it, layering of images, sounds and different time paths). The text addresses the act of drawing as related to speech, mark, trace, (...) scripture, presence and absence as it elaborates on the notion of gesture across the media and time. The vital connections between the performative act of drawing and the desire to mark since time immemorial and the contemporary virtual and cinematic mediums are crucial to the notion of anamnesis in both the physical installation in real time with performative inhabitation of space and in the virtual and altered memory of that occurrence in the resulting video piece. (shrink)

Incidents are peripheral, rather than central, phenomena. This Collision considers sound and installation artist Inouk Demers, whose recent work explores the incidental in both its geographical and conceptual relationships to the megalopolis of Los Angeles. In Zine-o-file, Conveyance, Wireless Landscape, and Custom Audio Products, Demers offers the incidental as an alternative to straightforward themes and fleshed-out narratives.

This paper is on matter and on art. Based on the assumption that the everyday attitude toward the world is a kind of materialistic realism and that philosophers, from the beginning of philosophy on, have objected to the plausibility of epistemological reliance on matter, I make attempts to investigate what matter is. I suggest doing this in reference to art. In particular I discuss works of art representing kinds of matter so extraordinary that their material character even could be doubted: (...) light and sound. An installation by James Turrell and a piece of music composed by Morton Feldman, Rothko Chapel, function as paradigms to demonstrate the material character of light and sound and also the affinity of matter to space. Having qualities, matter proves to be different from space; being amorphous, however, matter as such has no distinct appearance, but, like space, enables appearance. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires (...) two identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology experimentally. (...) However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

The authors discuss sonic decay as a compositional, performative and installation practice. Building off of the recording of a six hour performance, Andrew Stanford and Ezra Teboul assembled a short eight minute audio response which comes in two separate files. In addition to online links to the pieces, this paper provides a description of the compositional process along with an analysis of the response’s content and format. It then relates those to the greater concepts of sonic materialism, sound (...) objects, and the parallax view, and places the piece in the context of relevant and contemporary sound-based art works. Sonic Decay was installed and performed at the 2014 International Žižek Studies Conference in Cincinnati, Ohio. (shrink)

We investigate the Fourth Spatial Dimension, also known as ‘hyperspace’, by researching the capabilities of the human senses from the perspective of art and technology. The geometric approach of the fourth spatial dimension is studied through mathematical logic and the properties of simple geometric hyper-solids are examined. Focusing on the different ways that scientists and artists approached the Hyperspatial cognitive perception, we propose new aesthetic approaches by researching the capabilities of the human senses/bio-sensors and the brain. We present an interactive (...) art installation for approaching the hyper-sound, with reference to the Varèse and Helmholtz description, but also in conjunction with gravitational waves, an interactive art application about visualization of Hyperspace resulting from our evolution of the Hinton Coloured Cubes Method and an artistic approach to connect Johan Van Manen’s intuitive ‘hypersphere’ with the Quantum Geometry of String Theory, proposing a new cosmological model. Through these methods, a reasoning is developed between the objective scientific thought and the freedom that Art offers generating a practical result: a series of innovative audio and visual stimuli created via innovative audio-visual digital technology. Hence, we merge computer science with sensory technology and artistic knowhow, to define the required knowledge base that today can be found in an emerging professional, the ‘technartist’. (shrink)

“The Subliminal K i d moved in and took over bars cafes and jukeboxes of the world cities and installed radio transmitters and microphones in each bar so that the music and talk of any bar could be heard in all his bars and he had tape recorders in each bar that played and recorded at arbitrary intervals and his agents moved back and forth with portable tape recorders and brought back street sound and talk and music and poured (...) it into his recorder array so he set waves and eddies and tornadoes of sound down all your streets and by the river of all language‐Word dust drifted streets of broken music car horn and air hammers—The Word broken pounded twisted exploded in smoke—.Nothing is true—Everything is permitted—1—William Burroughs, Nova Express. (shrink)

Les instruments de musique nous permettent de fabriquer des sons musicaux, c'est-à-dire des sons désindicialisés (proposés pour eux-mêmes à l'écoute sans assignation à leur cause) et articulés les uns aux autres en un système réel ou supposé. Mais la fabrication n'est pas la seule voie de production de tels sons. Ils peuvent aussi simplement être produits par une décision d'écoute - par une oreille a priori capable d'installer cette désindicialisation et cette articulation, autrement dit par l'oreille d'un être parlant. Ce (...) n'est donc pas parce qu'ils font de la musique que les êtres humains ont un « corps harmonique», c'est parce qu'ils ont acquis un corps harmonique (un corps d'être parlant) qu'ils peuvent faire et entendre de la musique. Cela pourrait aussi expliquer pourquoi nous pouvons être sourds à certaines formes de musique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:120 HISTORY OF PHILOSOPHY weapons," the emotive meanings of propaganda (p. 168). Thus his main distinctions between understanding and will, science and art, knowing and doing, civil and penal, were repeatedly blurred as his tactics shifted. Bentham's originality, says Mack, "lay just here, in putting moral insights to use by first incorporating them in a systematic analytic structure." Yet he "never fully explained what he intended to include under (...) a 'logic of the will.' He began with individuals, their immediate pleasures and pains, and a Utilitarian rationale or consideration of consequences..." but the essential connective tissues were never sufficiently supplied (pp. 160-161). But at least the logic of the will and Bentham's bitter frustrations as a reformer combined to make him a radical democrat by 1790, and not, as the author clearly and for the first time demonstrates, because of the influence of James Mill some twenty years later. With a wealth of detail the author accompanies Bentham just beyond the mid-point of his odyssey, and fully justifies her admiration for what he attempted to do. She recognizes the obvious "gap between his ambition and his achievement," to which must be added the distance between his psychology and sociology and ours. Many of the questions he raised are still with us, and have even been sharpened, as the late David Baumgardt pointed out, by the logical positivists and the emotivists. In today's discussions, as he indicates, we are often confronted with a choice between but two alternatives: uncritical normative ethics and ethical or non-ethical psychology. Bentham offers at least the possibility of "basing ethics critically upon psychological observations." And Stevenson speaks of attitudes which can be "supported" by some "reasoned argument " (David Baumgardt, Bentham and the Ethics oI Today [Princeton, New Jersey: 1952], pp. 137-150). Nothing in this excellent beginning leads the reader to expect the second volume to portray the completion by Bentham of the majestic structures which he planned and replanned. But a case has been made for a reassessment of Bentham as an adventurer, if not as a builder in philosophy, so that one looks forward to the next installment of his odyssey. HAROLD A. LARRABEE Union College,Schenectady,New York Positives Antichristentum: Nietzsches Christusbild im Brennpunkt nachchristlicher Anthropologie. By Hermann Wein. (The Hague: Martinus Nijhoff, 1962. Pp. 114. 9.50 G.) For understandable reasons, a definitive study of the philosophy of Nietzsche has never been written-and may never be written. Nietzsche's predilection for dialectics, the restless to-and-fro with which he at once affirms and negates virtually every cultural and intellectual phenomenon of the western world, including some products of his own creative imagination, is the despair even of those commentators who would heed his warning that there is no fixed center to his thought. Thus we have had interpretations of Nietzsche as atheist, as secular eschatologist, as nihilist, as cultural relativist, as Dionysian yea-sayer, as Darwinian eugenicist, and the like--none of them altogether mistaken, all of them, singly and collectively, beset by a frustrating one-sidedness. It would be too much to say that Professor Wein has succeeded where all others have [ailed. But he has managed to present more of a "whole" Nietzsche than have his prede- BOOK REVIEWS 121 r He has honored his own sound methodological precept that "only in a farspanning synopsis of what constitutes the aphoristically dispersed Nietzschean corpus does the contrapuntal order of this open, nonsystematic philosophy become apparent" (p. as). Nietzsche, Professor Wein insists, was not an out-and-out nihilist. But in the face of his wholesale negations of what the West has traditionally understood by and accepted as real, true, and valuable, what was left for Nietzsche to affirm? By way of answer, Wein devotes more than half of his book to a multiperspectival exegesis of Nietzsche's briefest and best-known pronouncement: "God is dead." In the first place, the pronouncement is an historical report. "God," a shorthand expression for the hierarchized meanings and values developed by the Judeo-Christian tradition, is all but extinct. Thus for Nietzsche the contemporary era is the epoch of the ascendancy of nihilism. In the second place... (shrink)

This essay presents and reflects upon the construction of a few experimental artworks, among them Caracolomobile , that looks for poetic, aesthetic and functional possibilities to bring computer systems to the sensitive universe of human emotions, feelings and expressions. Modern and Contemporary Art have explored such qualities in unfathomable ways and nowadays is turning towards computer systems and their co-related technologies. This universe characterizes and is the focus of these experimental artworks; artworks dealing with entwined subjective and objective qualities, weaving (...) perceptions, sensations and concepts. One of them, Caracolomobile, features an art installation creating a set up for an artificial robot that recognizes humans’ affective states and answers them with movements and sounds. The robot was installed over an artificial mirror lake in an open indigo-blue space surrounded by mirrors. It perceives and discriminates human emotional states and expressions using an interface developed with a non-intrusive neural headset (The neural headset used was developed by Emotiv Systems: http://www.emotiv.com . Accessed 11 August 2011). This artwork raises questions and looks for answers inquiring about the preliminary steps for the creation of artefacts that would conduct one to poetically experiment with affect, emotion, sensations and feelings in computational systems. Other works in progress ask about the poetic possibilities of mixing computational autonomous processes and behavioural robotic procedures (Arkin 1998 ) to create artificial environments mixed with humans. (shrink)

Listening Music Listening to an art of music’s work! Something important happens to us. Why? Because our soul is touched and moved at its deepest levels. In contact with music, a spiritual tumult invades our entire being; and we are revealed to ourselves in a new and previously unknown way. Face to face with the harmonious sounds – giving music the status of an artistic “text” – we find opportunities – maybe the best possible – to unfold our unique capacity (...) to participate in, understand and even interpret life’s expanse. We put ourselves in the state of better self-knowledge and comprehension, by that hermeneutic polarity of “proximity and detachment” – according to Paul Ricoeur 2 . When we listen to music, each of us gives ourselves the chance to live the “absolute moment” – meaning, “at the same time, self-denial and self-mediation”. Everything that tears one away from anything restores the whole of totality of ‘being’, the subject installs himself in the profundity of “meaning’s continuity” 3 . In listening to music, the human being experiences universal communication, reaching the root of the major ethical truth of life – some of the “Logos of Life”, the center-concept in Phenomenology of Life elaborated by AnnaTeresa Tymieniecka 4 . “Two plans”: the “first” and the “second” – using Nicolai Hartmann’s aesthetical terms – are working together, in the accomplishment of musical art within the intuition and comprehension process to create a unitary view of this complex phenomenon. Through contact with an audio-sensitive matter, the listener deciphers a spiritual content molded into an artistic form. This content, its sense, and the force by which a musical work preserves and increases its identity over time are revealed through examination of the “relation between these plans”, through analysis of the whole musical experience in their “pure inner, autonomous connection” 5 . So we can speak about the relation between the material elements of the structure of musical language and what is “unreal” behind the spiritual elements of the plan. Hence, a question comes into profile: What is the reason for music’s life? What is its genesis, development, strength; actually, its undoubted value throughout its evolution over the millennia? We maintain that the ethos constitutes its great existence; the ethos – “rather than the eidos”, speaking in terms of Anna-Teresa Tymieniecka , which assures even the “ontic-ontological” differentiation . In discussion is the intimate relation between manifestation, external phenomenally, and intelligibility, internal foundation, essence. Beyond the empirical domain, that of the organized sounds in melody, harmony, and rhythm, let us examine the substratum of interiority within which a plenitude of ethical values makes their home. Consequently, we set up a new concept: the meloethics 7 - a complex philosophical construct, a structural-dynamical unity of the components : ‘mélos’ / ‘ ’ = song, melody; by extension: music; and ‘èthiké’ / ‘ ’ = moral, which belongs to ethics; herein, the system of moral values. (shrink)

Once an artist takes on the challenge of making the invisible visible, or the inaudible audible, he/she is almost immediately thrown into the realm of energy at the edge of art and science. The established art world based on visual culture finds it difficult to place this kind of work. The scientific community, used to working in this realm in a reductionist way, finds it hard to comprehend. Yet, the public seems to be drawn to artwork residing “in between,” and (...) there seems to be a universal need for a connection to the spiritual realm beyond what established religions offer. As many speculative ideas in the West circulate around ideas of energetic approach to matter in general, particularly the body and mind, alternative medicine and other Eastern philosophies are thriving. This essay will show how, in collaboration with nanoscientist James Gimzewski, we have investigated these ideas from the sounds of cells to the concept and realization of the Blue Morph installation at the Integratron [the Integratron is the creation of George Van Tassel and is based on the design of Moses’ Tabernacle, the writings of Nikola Tesla and telepathic directions from extraterrestrials. This one-of-a-kind building is a 38-foot-high, 55-foot-diameter, nonmetallic structure originally designed by Van Tassel as a rejuvenation and time machine (The Integratron 2009 )]. (shrink)

This paper has three objectives. First, I argue that apprehending an installation artwork is similar to apprehending an artwork for performance: in each case, audiences must recognize a relationship between the performance or display one encounters and the parameters expressed in the underlying work. Second, I consider whether realizations are also artworks in their own right. I argue that, in both installation art and performance, a particular realization is sometimes an artwork in its own right (even as it (...) realizes another work). I offer criteria for determining when this is the case. Application of the criteria yields the verdict that performances are sometimes artworks in their own right, while displays of installation artworks rarely are. This difference, though, is merely contingent on the conventions of the respective art forms. Third, I address ontological concerns about entities that are both abstract and temporal, as many artworks are on my analysis. (shrink)

Both Franz Brentano and Edmund Husserl addressed sound while trying to explain the inner consciousness of time and gave to it the status of a supporting example. Although their inquiries were not aimed at clarifying in detail the nature of the auditory experience or sounds themselves, they made some interesting observations that can contribute to the current philosophical discussion on sounds. On the other hand, in analytic philosophy, while inquiring the nature of sounds, their location, auditory experience or the (...) audible qualities and so on, the representatives of that trend of thought have remained silent about the depiction of sound and the auditory phenomena in the phenomenological tradition. The paper’s intention is to relate both endeavours, yet the perspective carried out is that of analytic philosophy and, thus, I pay special attention to conceptual analysis as a methodological framework. In this sense, I first explain what sound ontology is in the context of analytic philosophy and the views that it encompasses— namely, the Property View (PV), the Wave View (WV) and the Event View (EV)—. Secondly, I address the problems it entails, emphasising that of sound individuation. In a third section, I propose the possibly controversial conjunction of a “Brentano-Husserl Analysis of the Consciousness of Time” (for short “Brentano-Husserl analysis”) and outline the commonalities of both authors, without ignoring its discrepancies. My main focus is Husserl’s 1905 Vorlesungen zur Phänomenologie des Inneren Zeitbewusstseins. While addressing the Brentano-Husserl analysis, I elaborate on the problem of temporal and spatial extension (Raumlichkeit and Zeitlichkeit, respectively) of both consciousness and sound. Such comparison is a key one, since after these two developments, one can notice some theoretical movements concerning the shift of attention from sounds to the unity of consciousness, and how they mirror each other. After examining the controversial claims concerning the temporal and spatial extension of both consciousness and sound, I argue in the concluding paragraphs that while considering the accounts of sound ontology, the Brentano-Husserl analysis would probably endorse a Property View and that this could have interesting consequences for the issue of Sound Individuation. (shrink)