Immanence and Immersion on the Acoustic Condition in Contemporary Arts

Related terms: Klangkunst, sound installation (since late 1960s), Klanginstallation, sound-infinite-fine art (Leitner c1971 [1]), audio sculpture (run into Grayson 1975), Klangskulptur, sound walk, sonic art (see Wishart 1985), musicalization of sound (see Lander 1990), sound in the arts (see Kahn 1999), audio art (encounter Föllmer 2004), Audiokunst, sound in art.

Contents

• one Artists, events, initiatives
• 2 Compilations
• iii Bibliography
  • 3.i Journals and Magazines
  • iii.2 Catalogues
    • 3.2.1 Notable exhibitions with no catalogue
  • 3.3 Anthologies
  • 3.4 Book series
  • iii.5 Monographs, Edited books
  • three.half-dozen Periodical problems
  • three.7 Essays (selection)
  • 3.8 Theses
  • 3.9 List discussions
  • three.10 Moving-picture show documentaries
  • 3.xi Primary references
  • 3.12 Bibliographies
• 4 Resources
• 5 Encounter also

Artists, events, initiatives [edit]

• +3dB
• Peter Ablinger
• Milan Adamčiak
• Miguel Álvarez-Fernández
• Maryanne Amacher
• Laurie Anderson
• Andras Blazsek
• Sound Gruppe
• Audio Scene '79
• AudioHyperspace
• Sam Auinger
• AUT
• André Avelãs
• Younes Baba-Ali
• Natasha Barrett
• Baschet Brothers
• Dennis Báthory-Kitsz
• Justin Bennett
• Harry Bertoia
• Myriam Bleau
• René Block
• Ursula Cake
• Fari Bradley
• Tania Candiani
• Janet Cardiff
• Kabir Carter
• Daniela Cascella
• André Castro
• Raquel Castro
• Budhaditya Chattopadhyay
• Roz Cheney
• Lin Chiwei
• City Sonic
• Nicolas Collins
• Robert Curgenven
• Alvin Curran
• Peter Cusack
• Paul DeMarinis
• Lloyd Dunn
• Lina Džuverović
• East/static
• Echo City
• Espen Sommer Eide
• Eleonora Oreggia
• Ephemeral Sustainability
• Extrapool
• Festival for Applied Acoustics
• Flanders Festival Kortrijk
• Bill Fontana
• Carlo Fossati
• Jez riley French
• Anna Friz
• Ellen Fullman
• Marco Fusinato
• Bernhard Gál
• Christian Galarreta
• Raviv Ganchrow
• Richard Garet
• Generation Z
• GEZ-21
• Sanne Krogh Groth
• Heidi Grundmann
• Jonáš Gruska
• Milan Grygar
• John Grzinich
• Göteborg Art Sounds
• Yolande Harris
• Hanna Hartman
• Her Noise
• Felix Hess
• Het Apollohuis
• Marla Hlady
• Hannes Hoelzl
• The Hole Gallery
• Derek Holzer
• True cat Hope
• Phoebe Hui
• Ryoji Ikeda
• Institute for Sonic Arts Inquiry
• Intro in situ
• Inventionen
• IRZU
• Manuel Rocha Iturbide
• David Jacobs
• Arsenije Jovanović
• Jérôme Joy
• Phil Julian
• Rolf Julius
• Douglas Kahn
• Christine Lord's day Kim
• Jacob Kirkegaard
• Elvar Mar Kjartansson
• Klangkustfest
• Milan Knížák
• Konstmusiksystrar
• Kontakte
• Katarzyna Krakowiak
• Christina Kubisch
• Roland Kuit
• Peter Kutin
• Slavek Kwi
• Joan La Barbara
• Brandon LaBelle
• Katalin Ladik
• LAK Festival
• Dan Lander
• Cathy Lane
• Jørgen Larsson
• Ray Lee
• Bernhard Leitner
• Signe Lidén
• Kajsa Lindgren
• Lisboa Soa
• Edwin Lo
• Annea Lockwood
• Barbara London
• Francisco López
• Trond Lossius
• Alvin Lucier
• Lydgalleriet
• John Macedo
• Peter Machajdík
• Christian Marclay
• Stuart Marshall
• Reinhold Pieper Marxhausen
• Kaffe Matthews
• Charles Mattox
• Benoît Maubrey
• Víctor Mazón
• Radboud Mens
• MhCrispo
• Christof Migone
• Mileece
• Robin Minard
• Helga de la Motte-Haber
• Michal Murin
• Rie Nakajima
• Anne Hilde Neset
• Netaudio
• Max Neuhaus
• Daniel Neumann
• New Radio and Performing Arts
• Carsten Nicolai
• Atle Selnes Nielsen
• NK
• Arne Nordheim
• Nordic Audio Fine art
• Katharine Norman
• Camille Norment
• Alberto Novello
• NyMusikk
• Jonas Olesen
• Hans Otte
• Gascia Ouzounian
• Paul Panhuysen
• Maria Papadomanolaki
• Marianthi Papalexandri-Alexandri
• Harry Partch
• Rubén Patiño
• Susan Philipsz
• Liz Phillips
• Phonofemme
• Per Platou
• PNEM
• Gert-January Prins
• Q-O2
• RadiaLx
• Karim Rafi
• User:Rchaves
• Resonance FM
• Resonanzen
• Martins Rokis
• Jøran Rudi
• Søs Gunver Ryberg
• Aureola Satz
• Tomoko Sauvage
• Scanner
• Janek Schaefer
• R. Murray Schafer
• Matija Schellander
• Jean-Robert Sedano and Solveig de Ory
• Carsten Seiffarth
• La Semaine du Son
• Nobuhisa Shimoda
• Singuhr Hoergalerie
• Skálar
• Walter Smetak
• Rasa Smite & Raitis Smits
• Rune Søchting
• Morten Søndergaard
• Sonambiente
• Sonic Arts Research Centre
• Sonic Arts Union
• Sonica
• SONM Annal
• Audio around Kaliningrad
• Soundcamp/Reveil
• SoundFjord
• Sounds. Radio – Art – New Music
• Staalplaat

Compilations [edit]

• Audio Sculptures, Wergo, 1985, 2-LP. Curated by Klaus Hinrich Stahmer.
• From The Pages Of Experimental Musical Instruments serial, 8 volumes, Experimental Musical Instruments, 1986-1993. Cassettes. Curated by Bart Hopkins.
• Tellus 24: FluxTellus, 1990. Cassette.

See also the sections Magazines, Catalogues and Monographs below.

Bibliography [edit]

Publications on private artists are included in their respective pages. For further bibliographies run across besides the entries on Radio fine art, Sound poetry, Field recording, Electroacoustic music and Dissonance. The works are in English unless noted otherwise.

Journals and Magazines [edit]

• Sound Image: A Magazine of Aural and Visual Arts, 3 vols., Deerfield, MA: Sound Image Inc., 1975-77. LP-mag. Published past Jim Metzner. Book 1, [2].
• The Wire, London, since 1982.
• Essays in Sound, eds. Shaun Davies, Annemarie Jonson, et al., Newtown, NSW: Contemporary Sound Arts, 1992; 1995; 1996; 1999.
• Sound Arts: Xebec SoundCulture Membership Magazine, Kobe: Xebec Corporation, 1994-1998.
• Acoustic Space, eds. Rasa Šmite, Raitis Šmits, et al., Riga: E-Lab and Xchange Network, quasi-annually since 1998. [3] [four] (English language)/(Latvian)
• Hz, ed. Sachiko Hayashi, Stockholm: Fylkingen, since 2000. Online open-access journal. [v]
• China: the Sonic Avant-garde, two issues, 2005-2006. (Chinese)
• Writing Around Audio, 3+ issues, since 2015. Impress periodical that engages with sound culture and sonic art in New Zealand.
• Disclaimer, Melbourne: Liquid Architecture, since 2019.
• Grapefruits: A Fanzine on Female person* Composers and Sound Artists, four+ problems, Düsseldorf: Institute for Music and Media--RSH Düsseldorf, since 2019. Review: Neural. [6]

The Record every bit Artwork: From Futurism to Conceptual Art, 1977, Log, PDF.

A Sound Pick: Audio Works by Artists, 1980, Log, PDF.

Für Augen und Ohren: von der Spieluhr zum akustischen Environs, 1980, Log, PDF.

Broken Music: Artists' Recordworks, 1989, Log, PDF (DE, EN, FR).

Ars Electronica: Der freie Klang, 1987. PDFs (DE).

Heidi Grundmann (ed.), Zeitgleich, 1994, HTML (EN/DE).

Noises and Whispers in Avant-Gardes: Early Sound Art Works, 1909-1945, 2004. PDF, MP3s.

Miguel Molina Alarcón, Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-garde, 2008.

Catalogues [edit]

• For Eyes & Ears, ed. Nicolas Calas, New York: Cordier & Ekstrom, 1964, [4] pp. Exh. held at Cordier & Ekstrom Gallery; 3-25 Jan 1964. Exh. reviews: NYT, NYT. [seven]
• Sound, Light, Silence: Art That Performs, ed. Ralph T. Coe, Kansas Metropolis, MO: The Nelson Gallery, 1966, [32] pp. Exh. held at Nelson Gallery/Atkins Museum; four Nov-iv Dec 1966. [8] [9]
• Sound, ed. & intro. Ray Pierotti, New York: Museum of Contemporary Crafts, 1969, [6] pp. Exh. held 25 Oct 1969-4 Jan 1970.
• Geluid <=> Kijken: drie audio-visuele projekten / Sight <=> Sound: Three Sound-Visual Projects, ed. Jan Martinet, Amsterdam: Stedelijk Museum, 1971, 44 pp. With iii flexi-discs. Exh. held 5 Mar-xviii Apr 1971. [10] [11] (Dutch)/(English)
• Hören, sehen. Texte, Bilder, Environment, Bremen: Kunsthalle Bremen, 1972, 24 pp. Exh. held 6 May-11 Jun 1972. (German)
• Sehen um zu hören. Objekte und Konzerte zur visuellen Musik der 60er Jahre, ed. Inge Baecker, Düsseldorf: Städtische Kunsthalle Düsseldorf, 1975, 75 pp. Exh. held 17-26 Oct 1975. [12] [13] (German)
• Sounds: 4 Lainoc: Sound/Environments by 4 Artists, ed. Betty Turnbull, Newport Embankment, CA: Newport Harbor Art Museum, 1975. Exh. held eight Dec 1975-xi Jan 1976.
• 6° Internationaal Mixed-Media Festival 1976, Ghent: Stichting Logos, 1976. Held at Koninklijke Academie voor Schone Kunsten, Ghent; 26-29 Jan 1976.
• Bild. Raum. Klang. eleven internationale Künstler, ed. T. Deecke, Bonn-Bad Godesberg: Deutschen Akademischen Austauschdienst, 1976, [52] pp. Exh. held at Wissenschaftszentrum, Bonn-Bad Godesberg; 12 Nov-15 Dec 1976. [14]
• VIIe Internationaal Mixed-Media Festival 1977, Ghent: Stichting Logos, 1977. Held at Museum voor Hedendaagse Kunst, Ghent; 21 Feb-3 Mar 1977.
• The Record as Artwork: From Futurism to Conceptual Art, ed. Germano Celant, Chicago: Museum of Contemporary Art, 1977, 121 pp. (English language)/(French)
• VIIIe Internationaal Mixed-Media Festival 1978, Ghent: Stichting Logos, 1978. Held at Oranjehuis, Antwerp; 5-12 February 1978.
• Audio Art, Luzern: Apropos, 1978, [21] pp. Text by Richard Kostelanetz. Exh. held at Apropos, Luzern/CH, Mar-Apr 1978. (English)/(German language)
• Audio Scene '79: Veranstaltungsreihe zum Thema "Sound, Medium der Bildende Kunst", Vienna: Modernistic Art Galerie Wien, 1979, [30] pp. Wiki. (German)
• Sound: An Exhibition of Audio Sculpture, Instrument Building and Acoustically Tuned Spaces, Pasadena, CA: Los Angeles Constitute of Contemporary Art, 1979, 68 pp. With 12" LP containing 26 tracks [15]. Big-scale exhibition curated by Robert Smith and Robert Wilhite; held at Los Angeles Institute of Gimmicky Fine art, 14 Jul-31 Aug 1979; and in a vastly expanded version at Project Studios i (Plant for Art and Urban Resources, today's MoMA PS1), New York, 30 Sep-18 November 1979. [16]
• A Sound Selection: Audio Works past Artists, ed. Barry Rosen, intro. Helene Winer, New York: Commission for the Visual Arts, 1980, [19] pp. Exh. held at Artists Infinite, New York, 1977.
• Für Augen und Ohren: von der Spieluhr zum akustischen Environment. Objekte, Installationen, Performances, eds. René Block, Lorenz Dombois, Nele Hertling and Barbara Volkmann, Berlin: Akademie der Künste, 1980, 312 pp. Catalogue for a large-scale exhibition held on 20 Jan-2 Mar 1980; curated by Nele Hertling and René Block. Essays past Dieter Krickeberg, Siegfried Wendel, Wolf D. Kuehnelt, Juan Allende-Blin, Billy Klüver, René Block; chronology by Helmut Danninger. Documentary. Radio written report. (German)
  • Écouter par les yeux: Objets et environnements sonores, Paris: Musée d'art moderne de la Ville de Paris, with Berlin: Akademie der Künste, 1980, 144 pp. Catalogue for an exhibition held on 18 June-24 August 1980 at Musée d'Art Moderne de la Ville de Paris. Essays by Suzanne Pagé, Franck Popper, René Block. Works by L. Anderson, Ben, Beuys, Cage, Filiou, Kienholz, Kounellis, Ray, B. Lavier, D. Oppenheim, Paik, Sarkis, Satie, Takis, Vostell, Watts. [17] (French)
• Soundings, ed. Suzanne Delehanty, Buy, NY: Neuberger Museum/State University of New York, 1981, 96 pp. Exh. held 20 Sep-23 Dec 1981. Essays by Suzanne Delehanty, Dore Ashton, Germano Celant and Lucy Fischer.
• Sonorità prospettiche: suono, ambiente, immagine / Perspectival Sonorities: Sound, Surroundings, Prototype, ed. Franco Masotti, Rimini: Il Comune editions, 1982, 183 pp. Catalogue for an exhibition dedicated to Athanasius Kircher, curated by Franco Masotti and held on 30 Jan-xv March 1982 in Rimini. Exhibition review. (Italian)/(English language) Introduction also in (German).
• Sound, ed. Peter R. Meyer, Stockholm: Moderna Museet, 1983, [49] pp. Exh. held 12 Mar-10 Apr 1983. (Swedish),(English language)
• Vito Acconci, William Hellermann, Don Goddard, Sound/Art, New York: The Foundation, 1984, 29 pp. With an essay by Don Goddard. Exhibition curated by William Hellermann and held simultaneously at SculptureCenter'southward old location on East 69th Street in Manhattan and the Brooklyn Arts and Cultural Association (now Brooklyn Arts Quango). [18]
• Vom Klang der Bilder: Die Musik in der Kunst des xx. Jahrhunderts, ed. Karin von Maur, Munich: Prestel, 1985. For an exhibition held at Staatsgalerie, Stuttgart. (German)
• ECHO: The Images of Sound, ed. Paul Panhuysen, Eindoven: Het Apollohuis, 1986, 144 pp. [19]
• Sound Re Visited: An Anthology Concerning Sound in Fine art / Geluid Her Zien: Een Anthologie Over Geluid in Kunst, Amsterdam: VOID, 1987, 48+51 pp. Exhibition catalogue published in conjunction with "Audio 'Re' Visited," a festival on audio in the visual arts, held in nine Amsterdam venues, 7-29 Apr 1987. Texts by Ursula Block, Germano Celant, Hetty Huisman, Harry Ruhé, William Furlong, Gerald Lindahl and Louwrien Wijers. [20] (English)/(Dutch)
• Repeat. The Images Of Sound 2, Eindhoven: Het Apollohuis, 1987. CD with 38-page booklet. Festival held in Eindhoven, one May-xiv Jun 1987. Excerpts from CD. [21] [22]
• Ars Electronica: Free Sound / Der freie Klang, 1987. Festival held in Linz, sixteen-nineteen September 1987. (German)
• Broken Music: Artists' Recordworks, eds. Ursula Cake and Michael Glasmeier, Berlin: Berliner Künstlerprogramm des DAAD & gelbe Musik Berlin, 1989, 278 pp. Exh. held at daad galerie Berlin, Gemeentemuseum Den Haag, and Magasin Grenoble. Writings by Block, Adorno, Moholy-Nagy, Dubuffet, a.o. A nearly 200-folio bibliography of artists' records. (German),(English language),(French)
• Moments Sonores (Oto no aru Bijutsu) [Fine Fine art Having Sound], Tochigi: Tochigi Prefectural Museum of Fine Arts, 1989. Exh. held 13 Aug-ii Sep 1989. (Japanese)
• d.i.southward.c.o.t.h.è.q.u.e. … Expériences Sonores d'Artistes, 1989. Exhibition curated by Mauricio Nanucci and Blandine Bardonnet at Maison du Livre, de fifty'Image et du Son, Villeurbanne, French republic, October–Nov 1989. [23] [24]
• Zeitgleich: Sound Installation and Media Composition in the Digital Age / Klanginstallation und Medienkomposition im digitalen Zeitalter, ed. Heidi Grundmann, Vienna: Triton, 1994, 194 pp. With CD. Symposium, seminar and exhibition held at Hall in Tirol, 3 Jun-15 Aug 1994. Texts by Ros Bandt, Isabella Bordoni / Roberto Paci Dalo, Andres Bosshard, Alvin Curran, Nib Fontana, Matt Heckert, Concha Jerez / Jose Iges, Arthur and Marielouise Kroker, Alvin Lucier, Max Neuhaus, Claude Schryer, and Gerfried Stocker. [25] (English language)/(German)
• Sound In Space: Adventures in Australian Sound Art, Sydney, 1995. Exhibition curated by Rebecca Coyle; held at Museum of Gimmicky Art, Sydney, 26 May-22 Aug 1995. Coyle's essay, Introduction to a special issue of Essays in Sound dedicated to the exhibition.
• Klangkunst, ed. Akademie der Künste Berlin, Munich: Prestel, 1996, 303 pp. Sonambiente festival held in Berlin, 9 Aug-8 Sep 1996. Documentary (50 min), [26]. (German language)
• singuhr — hoergalerie in parochial: Klangkunst — Ausstellungen 1996-1998, eds. Susanne Binas and Carsten Seiffarth, Saarbrücken: PFAU, 1998, 120 pp. [27] (German)
• Ssshhhhh....., Copenhagen, 1999, 72 pp, PDF. Sound biennale held 1-21 Oct 1999.
• The American Century: Art & Civilization 1950-2000, ed. Lisa Phillips, New York: The Whitney Museum, with Westward.Due west. Norton, 1999, 398 pp. The exhibition included I Am Sitting in a Room: Sound Works past American Artists 1950-2000 programme curated by Stephen Vitiello, xi-16 Jan 2000. [28], [29], Review of the plan, Interview with the curator.
• Audio Art - Sound as Media, eds. Minoru Hatanaka and Takeo Nozaki, Tokyo: NTT, 2000, eighty pp. With CD. Exhibition held at NTT [ICC], Tokyo, 28 Jan-12 Mar 2000. Texts by Minoru Hatanaka and Rob Young. [xxx]
  • サウンド・アート -　音というメディア, 2000. [31] (Japanese)
• Sonic Boom: The Art of Sound, London: Hayward Gallery, 2000, 128 pp. With two-CD. Large-calibration exhibition curated past David Toop; held 27 Apr-18 Jun 2000. CD, [32] [33].
• Volume: Bed of Sound, New York: P.S. 1 Contemporary Art Center, 2000. "CD-catalog", with liner notes by Max Neuhaus. Exhibition curated by Elliot Sharp and Alanna Heiss; held 2 Jul-nineteen Nov 2000. [34] [35] [36]
• Resonanzen/Resonances. Aspekte der Klangkunst/Aspects of Sound Fine art, ed. Bernd Schulz, Heidelberg: Kehrer, 2002, 174 pp. With CD. Exhibitions held at Stadtgalerie Saarbrücken; 6 Jun-25 Aug and fifteen Sep-24 Nov 2002. Essays on sound art and documentation of works by Bosshard, de Marinis, Julius, Kubisch, Leitner, Oldorp, Osborn, Riches, Roden, Stache, Yui. Schulz: "Sound fine art is an art class [..] in which sound has go fabric within the context of an expanded concept of sculpture [..] for the most office works that are infinite-shaping and space-claiming in nature" (14). (English)/(German)
  • Helga de la Motte-Haber, "Esthetic Perception in New Artistic Contexts".
• Sonic Process: une nouvelle géographie des sons, Paris: Eye Georges Pompidou, 2002, 309 pp. Exh. held sixteen Oct 2002-6 Jan 2003 at Centre Pompidou, Paris, and eighteen Mar-21 May 2003 at Podewil, Berlin. Essay past Van Assche. Exh. booklet. Exh. review: Sterken (NL). Commentary: Fryberger. (French)
• Sons & lumières: une histoire du son dans l'art du XXe siècle, ed. Sophie Duplaix, Paris: Center Georges Pompidou, 2004, 375 pp. [37] [38] (French)
• Ruidos y susurros de las vanguardias: reconstrucción de obras pioneras del arte sonoro, 1909-1945 / Noises and Whispers in Avant-Gardes: Early on Sound Fine art Works, 1909-1945, Valencia: Allegro Records, 2004. With 2-CD (72 tracks). Coordinated by Miguel Molina Alarcón; presented by the R&D group Laboratory of Intermedia Creations (LC.!.) of the Department of Sculpture of the Faculty of Fine Arts San Carlos of Valencia. Discogs. (Castilian)/(English)
• Sonambiente Berlin 2006: Klang Kunst Audio Art, eds. Helga de la Motte-Haber, Matthias Osterwold and Georg Weckwerth, Heidelberg: Kehrer, with Berlin: Akademie der Künste, 2006, 408 pp. Texts by Helga de la Motte-Haber, Christian Scheib, Gerhard Rühm, Christoph Cox, Claudia Tittel, Rolf Langebartels, Uwe Rüth, Sabine Sanio, Marion Saxer, Sabine Breitsameter, Akio Suzuki, Andres Bosshard, Khaled Saleh, Detlev Ipsen, Gordon Monahan, Julie H. Reiss, Raimar Stange, Lutz Fahrenkrog-Petersen, Rolf Großmann, Nicolas Collins, Jörg Stelkens, Paul B. Davis, Sven König, Golo Föllmer, Gerhard Eckel, Stefan Weinzierl + Kees Tazelaar, Christopher Frauenberger, Frieder Butzmann, Markus Bodden, Nele Hertling. [39] [xl] (German)/(English language)
• LARM: Från munhåla till laptop: ljud i nordisk konst / From Rima oris Crenel to Laptop: The Sound of Nordic Art, eds. Maria Bjurestam, Maria Hägglund, Mona Petersson, and Liv Strand, Kabusa, 2007, 27 pp. With 2 CDs. Texts by Maja Ratkje, Stine Hebert, Catharina Dyrssen, Natasha Barrett, Yvonne Spielmann, Thomas Millroth, Adina Popescu, Zeenath Hasan, Søssa Jørgensen, Yngvild Færøy, Grethe Melby, Johanna Gustafsson, Anne Hilde Neset, Nina Björk Eliasson, Pauline Oliveros, Maria Bjurestam, Bodil Persson, Ina Blom, Kristin Björk Kristjansdottir, Thor Magnusson, Karl Holmqvist, Mika Hannula, Meena Kaunisto, Elisabet Indra Ragnarsdottir, Liv Strand. [41] [42] [43] (Swedish)/(English)
• Miguel Molina Alarcón, Baku: Symphony of Sirens: Sound Experiments in The Russian Avant-Garde. Original Documents and Reconstructions of 72 Key Works of Music, Poetry and Agitprop from the Russian Avantgardes (1908-1942), London: ReR Megacorp, 2008, 72 pp. With 2-CD. [44]
• Jøran Rudi (ed.), Absorpsjon og resonans – lyd og mening / Absorption and Resonance: Audio and Meaning, Oslo: NOTAM, 2008, 168 pp. Texts by Katharine Norman, Leigh Landy, Jøran Rudi, Aeron Bergman and Steinar Sekkingstad. Rudi's essay. Exh. held at held at Henie Onstad Arts Eye. (Norwegian)/(English language)
• The Art of Listening, Seoul: Arts Council Korea, 2008. With DVD. [45] (English language)/(Korean)
• singuhr - hoergalerie in parochial 1996-2006: sound fine art in berlin, eds. Carsten Seiffarth and Markus Steffens, Heidelberg: Kehrer, 2010, 296 pp. With DVD (74 audio tracks). [46] [47] (High german)/(English language)
• Andrey Smirnov, Liubov Pchelkina, Pokolenie Z [ПОКОЛЕНИЕ Z], Petrograd: PRO ARTE Foundation, 2010, 20 pp. Booklet-newspaper of the Generation Z exhibition. (Russian)
  • Pokolenie Z [ПОКОЛЕНИЕ Z], Moscow: Polytechnic Museum, 2011, twenty pp. Booklet-newspaper of the Generation Z exhibition. (Russian)
  • Generation Z: Russian Pioneers of Sound Art and Musical Technology in 1910-1930, Budapest: OSA Archivum, 2011, 20 pp. Booklet-newspaper of the Generation Z exhibition. (English language)/(Hungarian)
• Sounds. Radio - Art - New Music, Berlin: north.b.k., 2010, 32 pp.
• Sonic Interaction Blueprint, eds. & intro. Frauke Behrendt and Trond Lossius, Bergen: BEK, 2011, 56 pp. [48]
• David Crowley, Daniel Muzyczuk, Sounding the Body Electric: Experiments in Art and Music in Eastern Europe 1957–1984, Łódź: Muzeum Sztuki, 2012, 222 pp. (English)/(Polish)
• A Firm Total of Music: Strategies in Music and Art, eds. Ralf Beil, Peter Kraut and Institut Mathildenhöhe Darmstadt, Hatje Cantz, 2012, 416 pp. With CD. Catalogue for an exhibition curated by Ralf Beil, Mathildenhöhe Museum, Darmstadt, 13 May-9 September 2012. Texts past Ralf Beil, Stefan Fricke, Peter Kraut, Thomas Schäfer and others. [49] [50]
  • Kunst zum Hören: A House Full of Music: Strategien in Musik und Kunst, 2012, 52 p. Parallel edition in German language. (German)
• Audio Art. Klang als Medium der Kunst, ed. Julia Gerlach, Karlsruhe: ZKM, 2012, 44 pp. Exhibition curated by Peter Weibel; held at ZKM, 17 Mar 2012-6 Jan 2013. (German language)
• Heed My Heart to the Whispers of the World: A Cinema for the Ear, Delhi: Khoj International Artists' Association, 2013, 36 pp. Exh. curated by Alexis Bhagat and Lauren Rosati.
• Soundings: A Gimmicky Score, eds. Barbara London and Anne Hilde Neset, New York: Museum of Mod Art, 2013, 72 pp. TOC, Introduction, Excerpt. Online companion. Exh. held at MoMA, 10 Aug-3 Nov 2013.
• Discussion. Sound. Power, London: Tate Mod, 2013. Exhibition held 12 Jul-3 Nov 2013. Curated by Loren Hansi Momodu and Andi-Asmita Rangari.
• Records by Artists: 1958-1990, ed. Giorgio Maffei, Perugia: Viaindustriae Edizioni, and Ravenna: Danilo Montanari Editore, 2013. Exhibition curated by Giorgio Maffei; held at Biblioteca Universitaria, Bologna, Sep-Oct 2013. A selection of 130 artists records chosen amidst Maffei's personal collection. [51] [52]
• Sünkroonist väljas. Helikunstist vaatega minevikku / Out of Sync. Looking Back at the History of Sound Art, eds. Ragne Nukk and Kati Ilves, Tallinn: Kumu Art Museum, 2013, 128 pp. On the developments in Estonian sound art from the 1960s to the nowadays day. Exh. held 27 Sep 2013-12 Jan 2014. [53] (Estonian)/(English language)
• Art or Sound, ed. & intro. Germano Celant, Milan: Progetto Prada Arte, 2014, 520 pp. Excerpt. Exh. held at Fondazione Prada, Venice, 7 Jun-3 Nov 2014. [54] [55] (English language),(Italian)
• singuhr — hoergalerie 2007-2014: sound installation art in berlin, eds. Carsten Seiffarth und Markus Steffens, Heidelberg: Kehrer, 2016, 272 pp. With DVD (34 audio tracks). [56] [57] (German language)/(English)
• Soundtracks, forew. Neal Benezra, intro. Rudolf Frieling and Tanya Zimbardo, ed. Jennifer Knox White, San Francisco: San Francisco Museum of Fine art, 2017. Digital catalogue; with contributions by Dena Beard, Chris Downey, Rudolf Frieling, Brandon LaBelle, Frank Smigiel, and Tanya Zimbardo. Exh. curated by Rudolf Frieling and Tanya Zimbardo; held 15 Jul 2017-1 Jan 2018.
• Escuchar con los ojos. Arte sonoro en España, 1961-2016, Madrid: Fundación Juan March, 2016. Book + MP3. Exhibition held at Museo de Arte Abstracto Español, Cuenca, 16 Jun-18 Sep 2016; Museu Fundación Juan March, Palma, 10 Feb-21 May 2016; Fundación Juan March, Madrid, xiv Oct 2016-15 Jan 2017. Curated by Manuel Fontán del Junco, José Iges and José Luis Maire. (Spanish)
• Sounds Remote, 2 vols., eds. Kirsty Collander-Chocolate-brown, Maria Papadomanolaki, Dawn Scarfe, and Grant Smith, Devon: Uniformbooks, and London: SoundCamp, 2016, 28+28 pp. An inventory and reader of the sounds, sites and streams assembled for the Soundcamp/Reveil radio broadcast on 2 to 3 May 2015. [58] [59]
• zwischen grenzen: klangräume in mexiko und deutschland / entre límites: espacios sonoros en méxico y alemania / sound spaces in mexico & federal republic of germany: 2015-2017, eds. Carsten Seiffarth and Markus Steffens, Berlin: Singuhr Editions, 2018, 80 pp. (High german)/(Castilian)/(English)

• Disonata: arte en sonido hasta 1980, Madrid: Museo Reina Sofía, 2020, 272 pp. Exh. curated by Maike Aden; held at MNCARS, Madrid, 23 Sep 2020-1 Mar 2021. Publisher. Exhibition. Video. (Castilian)
  • Disonata: Fine art in Sound upwardly to 1980, Madrid: Museo Reina Sofía, 2020, 272 pp. Publisher. Exhibition. Video.

• Audiosfera: Experimentación sonora 1980-2020, Madrid: Museo Reina Sofía, 2020, 194 pp. Exh. curated by Francisco López; held at MNCARS, Madrid, 14 October 2020-eleven January 2021. (Spanish)
  • Audiosphere: Sound Experimentation 1980-2020, Madrid: Museo Reina Sofía, 2020, 194 pp.

• Unplugged, ed. David Korecký, Prague: Galerie Rudolfinum, 2020, 24 pp. Exhibition. Publisher. (English)

• Zvuky, kódy, obrazy. Akustický experiment ve vizuálním umění / Sounds, Codes, Images, eds. Jitka Hlaváčková and Miloš Vojtěchovský, Prague: ArtMap, 2021, 288 pp. Exhibition. [60]. Exh. review: Flašar (Fine art&Antiques). Book reviews: Zahálková (Artalk), Válek. (Czech)/(English)

• Listing of catalogues of collective exhibitions of sound art in Kingdom of spain.

Notable exhibitions with no catalogue [edit]

• Sound Sculpture Every bit, Museum of Conceptual Art, San Francisco, 30 Apr 1970. Curated by Tom Marioni. [61]
• Sound as Visual / Visual as Sound, Vehicule, Montreal, Mar 1973; Wayne Country College, Detroit, Jun 1973.
• Audio Works, Artists Space, New York, 21 Jan-18 Feb 1978.
• Sound Art, Museum of Modern Art, New York, 25 Jun-5 Aug 1979. Curated by Barbara London. [62]. Run into Dunaway 2020.
• Revolutions Per Minute: Sound Art China, New York, 2013; Shanghai, 2013. Curated and produced by Dajuin Yao, Post-Concrete, Chinese New Ear, and Open up Media Lab.
• Hacer la Audición. Encuentros entre arte y sonido en el Perú, Museo de Arte Contemporáneo, Lima, 18 Feb-ix Apr 2016. Curated by Luis Alvarado. [63]

Encounter also SAET: Audio Art Exhibitions Timeline compiled past Jérôme Joy and Thom Holmes (former version) and an overview of group exhibitions of audio fine art from 1964-2012 in Maes 2013.

John Grayson (ed.), Audio Sculpture, 1975. PDF.

Dan Lander, Micah Lexier (eds.), Sound by Artists, 1990, Log, PDF.

Anthologies [edit]

• John Grayson (ed.), Sound Sculpture: A Collection of Essays by Artists Surveying the Techniques, Applications, and Futurity Directions of Sound Sculpture, Vancouver: Artful Research Centre of Canada, 1975, 196 pp. Based on the exhibition Sound / Sculpture: A Survey of Piece of work by 11 Sound-Kinetic Sculptors held at Vancouver Art Gallery; vii February-four Mar 1973. [64] [65]
• Sound Re Visited: An Album Apropos Audio in Art, 1987. Catalogue. (run across higher up)
• Audio past Artists, eds. Dan Lander and Micah Lexier, Toronto: Art Metropole, and Banff, Alberta: Walter Phillips Gallery, 1990, 385 pp; facs.repr., Blackwood Gallery and Charivari Press, 2013, 372 pp. Essays on sound art by writers and artists including Bruce Barber, John Cage, Ihor Holubizky, Douglas Kahn, Christina Kubisch, Annea Lockwood, Alvin Lucier, Christian Marclay, Ian Murray, Rita McKeough, Max Neuhaus, and many others. [66] [67]
• Caleb Kelly (ed.), Audio, London: Whitechapel Gallery, with MIT Press, 2011, 239 pp. "This anthology argues for audio's importance within contemporary art itself. In doing and then it [does] not focus primarily on 'audio art' – although it includes all the relevant discussions of this term. Rather, the focus is on 'listening' to the visual arts." (15)

Book serial [edit]

• Audio Studies, Bloomsbury.
• Critical Ear, Errant Bodies. Serial of monographs featuring gimmicky artists working with audio, experimental music and electronic media.
• Errant Bodies: Anthologies. Publications exploring themes related to sound art, performance, radio and spatial practices.

Trevor Wishart, On Sonic Fine art, 1985/1996. Download.

Douglas Kahn, Noise, Water, Meat: A History of Sound in the Arts, 1999. Download.

Allen S. Weiss (ed.), Experimental Audio & Radio, 2000. Download.

Seth Kim-Cohen, In the Blink of an Ear: Toward a Not-Cochlear Sonic Fine art, 2009. Download.

Salomé Voegelin, Listening to Noise and Silence, 2010. Download.

Monographs, Edited books [edit]

• Peter Chamberlain, An Investigation of Sound/sculpture Relationships, New York: Land University College, 1976, 134 pp. [68]
• Trevor Wishart, On Sonic Art, Harwood Academic Publishers, 1985; 2nd ed., ed. Simon Emmerson, Routledge, 1996, 357 pp. "[S]onic fine art includes music and electroacoustic music. At the same time [..] it cross[es] over into areas which have been categorised distinctly equally text-sound and as audio-effects. [..] I have chosen the title On Sonic Fine art to embrace the arts of organising sound-events in time. This, nevertheless, is merely a convenient fiction for those who cannot bear to see the utilise of the discussion 'music' extended. For me, all these areas fall within the category I phone call 'music'." (4)
• Helga de la Motte-Haber, Musik und Bildende Kunst. Von der Tonmalerei zur Klangskulptur, Laaber: Laaber-Verlag, 1990.
• Douglas Kahn, Gregory Whitehead (eds.), Wireless Imagination: Sound, Radio, and the Avant-garde, MIT Press, 1992, xi+452 pp.
• René van Peer, Interviews with Sound Artists: Taking Role in the Festival Echo, The Images of Sound Two, Eindoven: Het Apollohuis, 1993, 149 pp. Interviews with Joe Jones, Richard Lerman, Jean Weinfeld, Martin Riches, Takehisa Kosugi, Horst Rickels, Johan Goedhart, Terry Trick, Christina Kubisch, Jim Pomeroy, Walter Fähnrich, Yoshi Wada, Paul Panhuysen. Almost interviews took place in 1987. [69]
• Achim Wollscheid, The Terrorized Term, Frankfurt/M: Selektion, 1996, 167 pp. [70] [71]
• Adalaide Kirby Morris (ed.), Audio States: Innovative Poetics and Acoustical Technologies, University of North Carolina Press, 1997, 349 pp.
• Ulrike Roos, Markus Müller (eds.), Jahresring 45 / Jahrbuch für moderne Kunst: Go far Funky. Crossover zwischen Musik, Pop, Avantgarde und Kunst, Cologne: Oktagon, 1998, 355 pp. [72] (German)
• Douglas Kahn, Racket, Water, Meat: A History of Sound in the Arts, MIT Press, 1999, 455 pp. Sparked past Dan Lander's idea of "musicalization of sound" presented in the volume Sound past Artists. ([73]; 363-4, n22). "By sound I hateful sounds, voices, and aurality--all that might fall within or touch on auditive phenomena, whether this involves actual sonic or auditive events or ideas well-nigh audio or listening; sounds really heard or heard in myth, idea, or implication; sounds heard by everyone or imagined by ane person alone; or sounds as they fuse with the sensorium as a whole" (3).
• Helga de la Motte-Haber (ed.), Klangkunst: Tönende Objekte und klingende Räume, Laaber: Laaber-Verlag, 1999, 352 pp. Review, Review. (German)
• Brandon LaBelle, Steve Roden (eds.), Site of Sound: Of Architecture and the Ear, Los Angeles: Errant Bodies/Smart Fine art, 1999, 178 pp. With CD. [74]
• Karin von Maur, The Sound of Painting: Music in Modern Art, Prestel, 1999, 128 pp.
• Allen South. Weiss (ed.), Experimental Sound and Radio, MIT Printing, 2000, 188 pp.

• Teddy Hultberg, SoundArt: Swedish Contemporary Audio Artists, Stockholm: STIM / Svensk Musik, Sep 2001, 143 pp. With 2 CDs. [75] (English)

• Thomas Millroth, et al. (eds.), Expect at the Music / SeeSound: Antologi, Ystad: Ystads konstmuseum, Brösarp: Neon Gallery, and Roskilde: Museet for Samtidskunst, 2002, 120 pp. With 2 CDs. (Danish),(Swedish)
  • Look at the Music/SeeSound: A Sound Fine art Album, Ystad: Ystad Art Museum, Brösarp: Neon Gallery, and Roskilde: Museum of Contemporary Art, 2002, 120 pp. With 2 CDs. Extract (pp 1-38). (English language)

• Ken Ehrlich, Brandon LaBelle (eds.), Surface Tension: Problematics of Site, Los Angeles: Errant Bodies, 2003, 328 pp. With CD. Texts by Kim Abeles, Carol Brown, CopenhagenOffice, Octavio Camargo, Jeremiah Day/Physical Steps, Dispute Resolution Services, Jennifer Gabrys, Jen Hofer/Melissa Dyne, Lucy R. Lippard, Colette Meacher, Christof Migone/Alexander St-Onge (undo), Laurie Palmer, Lize Mogel, Michael Rakowitz, Jane Rendell, Lizzie Scott, Atau Tanaka, and WochenKlausur. [76]
• Yannick Dauby, Paysages sonores partagés, 2004, 119 pp. (French)
• Jim Drobnick (ed.), Aural Cultures, Toronto: YYZ Books, Banff: Walter Philips Gallery Editions, 2004, 288 pp. With Audio CD. [77], Review.
• Sindre Andersen, Ute Meta Bauer, Christiane Erharter (eds.), Sonic North, Oslo: Function for Contemporary Art, 2005, 102 pp. [78]
• Maja Kuzmanovic, nadine, Annemie Maes, Yves Bernard (eds.), .x-med-a., experimental media arts, Brussels, 2006, 156 pp.
• Brandon LaBelle, Background Noise: Perspectives on Sound Art, Continuum, 2006, 316 pp; second ed., 2015, 351 pp. [79]
• Anne Thurmann-Jajes, Sabine Breitsameter, Winfried Pauleit (eds.), Sound Art: Zwischen Avantgarde und Popkultur / Sound Art: Between Avant-Garde and Pop Civilization, Cologne: Salon, 2006, 239 pp. With Sound-CD. Documentation of the briefing held on 30 September-two October 2005 on the occasion of an exhibition, 21 August-27 Nov 2005, Neuen Museum Weserburg Bremen. Texts by Sabine Breitsameter, Winfried Pauleit, Anne Thurmann-Jajes, Barbara Barthelmes, Julia Kursell, Martin Maurach, Daniel Gethmann, Wolfgang Hagen, Peter Frank, Sten Hanson, Heidi Grundmann, Barbara Flückiger. [80] (German),(English)
• Alan Licht, Audio Fine art: Beyond Music, Between Categories, New York: Rizzoli, 2007, 304 pp. With CD. Foreword by Jim O'Rourke. [81], CD, Review. "Sound art belongs in an exhibition situation rather than a performance situation. [Information technology is not-narrative, and just] rarely attempts to create a portrait or capture the soul of a human being, or limited something about the interaction of human beings—its main concern is audio as a phenomenon of nature and/or engineering science." (14)
• Leigh Landy, Understanding the Art of Sound Arrangement, MIT Press, 2007, 303 pp.
• Alexis Bhagat, Gregory Gangemi (eds.), Audio Generation, Brooklyn: Autonomedia, 2008; rev.ed., Brooklyn: Autonomedia, 2013. A drove of interviews with contemporary audio artists and composers.
• Ulrich Tadday (ed.), Klangkunst, Munich: Richard Boorberg, 2008, 199 pp. Extract. Contributions by Helga de la Motte, Volker Straebel, Sabine Sanio, Uwe Rüth, Wolfgang Heiniger, Julia H. Schröder, Christoph Metzger, Bernd Schulz/Carsten Seiffarth, Claudia Tittel, and Marion Saxer. (German language)
• Seth Kim-Cohen, In the Glimmer of an Ear: Toward a Not-Cochlear Sonic Fine art, New York and London: Continuum, 2009, 296 pp. "If [Duchampian] non-retinal visual art is liberated to inquire questions that the center alone cannot answer, then a non-cochlear sonic art appeals to exigencies out of earshot. Just the eye and the ear are not denied or discarded. A conceptual sonic fine art would necessarily engage both the non-cochlear and the cochlear, and the constituting trace of each in the other." (xxi)
• Frances Dyson, Sounding New Media: Immersion and Apotheosis in the Arts and Culture, University of California Printing, 2009, 262 pp.
• Craig Dworkin, Unheard Music, information every bit textile, 2010, 30 pp. A survey of almost one hundred compositions and performances of silent music.
• Thomas Bey William Bailey, Micro Bionic: Radical Electronic Music & Audio Art in the 21st Century, Creation Books, 2009; second ed., Belsona Books, 2012, 417 pp.
• Salomé Voegelin, Listening to Noise and Silence: Towards a Philosophy of Sound Fine art, Continuum, 2010, 256 pp. "[This text] is about sound art in that it focuses on sound equally its 'object' of investigation; and information technology is philosophical in that it speculates and inquires into new ways to consider art, the world and our position within the production of art and the world through a sonic sensibility." (14)
• Peter Kiefer (ed.), Klangräume der Kunst, Heidelberg: Kehrer, 2010. With Video-DVD. (German language) Review.
• Llorenç Barber, Montserrat Palacios, La mosca tras la oreja: de la música experimental al arte sonoro en España, Madrid: Autor, 2010. With 4-CD. (Spanish) [82]
• Galen Joseph-Hunter, Penny Duff, Maria Papadomanolaki (eds.), Manual Arts: Artists & Airwaves, PAJ Publications, with free103point9, 2011, 169 pp. Project website. Cover. [83] [84] [85]. Review: Barber (Leonardo).
• Peter Price, Resonance: Philosophy for Sonic Art, New York: Atropos Press, 2011, 324 pp. [86]
• Jøran Rudi (ed.), Soundscape i kunsten / Soundscape in the Arts, Oslo: NOTAM, 2011, 336 pp. Contributions by Natasha Barrett, Nib Fontana, Kristof Georgen, Henrik Hellstenius, Francisco Lòpez, David Monacchi, Camille Norment, Jøran Rudi, Kjell Samkopf, Owe Svensson, Gisle Tveito, Anders Vinjar and Jana Winderen. Foreword, Rudi's essay, Rudi'southward essay #two, Interview with Jana Winderen, Interview with Bill Fontana. (Norwegian)/(English)
• Carsten Seiffarth, Carsten Stabenow, Golo Föllmer (eds.), Sound Commutation: Anthology of Experimental Music Cultures in Central and Eastern Europe 1950-2010, Saarbrücken: PFAU, 2012, 400 pp. (English)/(German)
• Lars Mørch Finborud, Mot det totale museum; Henie Onstad kunstsenter og tidsbasert kunst 1961-2011, Oslo: Forlaget, 2012, 305 pp. Excerpt. [87] (Norwegian)
• Lin Chiwei (林其蔚), 超越聲音藝術-前衛主義、聲音機器、聽覺現代性 [Chao yue sheng yin yi shu: qian wei zhu yi, sheng yin ji qi, ting jue xian dai xing; Across Sound Art: The Avant Garde, Sound Machines, and the Modernity of Hearing], Taipei: Artist Publishing (藝術家出版社), 2012, 351 pp. Excerpt. (Chinese). First monograph on Chinese sound art. [88]
• Andrey Smirnov, Sound in Z: Experiments in Sound and Electronic Music in Early on 20th-century Russian federation, London: Koenig Books & Audio and Music, 2013, 281 pp.
• Douglas Kahn, World Sound Earth Bespeak: Energies and World Magnitude in the Arts, University of California Press, 2013, 344 pp. [89]
• Seth Kim-Cohen, Confronting Ambience, Bloomsbury, 2013.
• eldritch Priest, Boring Formless Nonsense: Experimental Music and the Aesthetics of Failure, Bloomsbury, 2013. [90], Excerpt. Reviews: Hainge (2013), Fundamental (2013), Neural (2013), Hugill (2015).
• Eleni Ikoniadou, The Rhythmic Outcome: Art, Media, and the Sonic, MIT Printing, 2014, 136 pp. [91]
• Invisible Places, Sounding Cities: Sound, Urbanism and Sense of Place, eds. Raquel Castro and Miguel Carvalhais, Viseu: Jardins Efémeros, 2014, 808 pp. Proceedings.
• Thomas Gardner, Salomé Voegelin (eds.), Colloquium: Audio Art and Music, Winchester, WA: Nothing Books, 2016, 217 pp. Based on a 2012 colloquium at University of the Arts London. [92]
• Frederick Bianchi, V.J. Manzo (eds.), Environmental Sound Artists: In Their Own Words, Oxford University Printing, 2016, 232 pp. [93]
• Yael Kaduri (eds.), The Oxford Handbook of Sound and Paradigm in Western Fine art, Oxford University Press, 2016, 552 pp. [94]
• Marcel Cobussen, Vincent Meelberg, Barry Truax (eds.), The Routledge Companion to Sounding Art, Routledge, 2017, 482 pp. [95]
• Will Schrimshaw, Immanence and Immersion: On the Acoustic Status in Contemporary Fine art, Bloomsbury Academic, 2017, 216 pp. [96]
• Caleb Kelly, Gallery Sound, New York: Bloomsbury, 2017, 176 pp. Review: Barber (Leonardo).
• Christoph Cox, Sonic Flux: Sound, Art, and Metaphysics, University of Chicago Press, 2018, 272 pp. [97]
• Esther Venrooy, Sounding Things Out: A Journey through Music and Audio Art, Eindhoven: Onomatopee, 2018, 144 pp. [98]
• Jørgen Larsson, Håndbok for lydarbeid i visningsrom, eds. Sissel Lillebostad and Bjørnar Habbestad, Bergen: Lydgalleriet, 2018, 200 pp. [99] [100] (Norwegian)
• Peter Weibel (ed.), Sound Fine art: Sound as a Medium of Art, MIT Press, 2019, 744 pp. [101]
• Alan Licht, Sound Art Revisited, Bloomsbury Academic, 2019.
• José Luis Espejo (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente, Madrid: Exit, 2019, 252 pp. Publisher. Editor. (Spanish)
• Sanne Krogh Groth, Holger Schulze (eds.), The Bloomsbury Handbook of Audio Fine art, Bloomsbury Academic, 2020, 576 pp. [102]
• Sissel Lillebostad, Julie Lillelien Porter, Samuel Brzeski (eds.), Lydgalleriet Retrospective 2005-2020, Bergen: Lydgalleriet, 2020, 235 pp.
• Cathy Lane, Angus Carlyle, Audio Arts At present, Uniformbooks, 2021, 240 pp. Features twenty interviews. Excerpt. [103]
• Jane Grant, John Matthias, David Prior (eds.), Oxford Handbook of Sound Fine art, Oxford: Oxford Academy Press, 2021, 632 pp. Publisher.

• more

Kunstjournalen B-post: "Sound / Lyd", 2012. View online (EN/NO).

Periodical bug [edit]

• third Degree iv: Special Event: "Earshot" (1988), ed. Shelly Cox, et al.
• Art & Text 31: Special Issue on Sound (December-Feb 1989), ed. Martin Harrison, et al.
• New Music Articles viii: Special Outcome on Sound (1990), ed. Frances Dyson.
• Westward 5: Special Issue on Sound Cultures (1992), ed. Colin Hood.
• Public (four/5): Special Outcome on Sound (Fall 1990), eds. Marc de Guerre and Janine Marchessault, Toronto. [104]
• Music Today 19: Special Issue on Sound (1993), Nihon. [105]
• P-Form 33: Special Result on Audio Art (1994), ed. Lou Mallozzi.
• InterCommunication ix: Special Issue: "Turning Forks: Technologies of Sound and Music" (Summer 1994), Tokyo.
• TDR: The Drama Review xl(three): Special Issue on Experimental Sound and Radio (Autumn 1996). [106]
• testcard: Beiträge zur Popgeschichte, Vol. iii: "Sound", eds. Roger Behrens, Martin Büsser, Jochen Kleinhenz and Johannes Ullmaier, Mainz: Ventil, 1996, 314 pp; second ed., 2002. (German) [107]
• UKS Forum, 1999. Special effect on Norwegian sound art. With an sound CD. (Norwegian)
• Localmotives two: "Lydkunst/Poplyrikk", Stavanger: Pineapple Publishing, Jul/Aug 2000. [108] (Norwegian), English selection.
• eContact! five.3: "NAISA — New Adventures in Sound Art", 2002. (English)/(French)
• Open nine: "Sound. Sound in Art and Civilization", Rotterdam: nai010, Nov 2005.
  • Open ix: "Geluid. Geluid in kunst en cultuur", Rotterdam: nai010, 2005. (Dutch)
• Positionen 65: "Klangkunst", Großstückenfeld: Positionen, Nov 2005. (German) [109]
• The Iowa Review Web 8(1): Special issue on Audio Art, ed. Ben Basan, Feb/Mar 2006.
• John Grzinich (ed.), kunst.ee: Estonian Quarterly of Art and Visual Culture, Special section on Sound Art, Jun 2006.
• Organised Sound: An International Journal of Music and Engineering science, fourteen(1): Sound Art, ed. Jøran Rudi, Cambridge Academy Press, 2009, 115 pp.
• Journal of Visual Culture 10(2): "Sonic Arts and Sound Cultures", eds. Margaret Schedel and Andrew V. Uroskie, Aug 2011. Introduction. [110]
• Seismograf/DMT: "Japansk lydkunst", Sep 2011. (Danish)
• Seismograf/DMT: "Urbanitet, lyd og kunst", eds. Kristine Samson and Sanne Krogh Groth, November 2012. (Danish)
• Kunstjournalen B-post: "Sound" / "Lyd", eds. Maia Urstad and Sissel Lillebostad, Bergen, 2012. (English)/(Norwegian)
• Positionen 94: "Stadt | Kartographie | Klang" (February 2013), Berlin. (German) [111]
• AI & Lodge 27(ii): "Sonification: what where how why artistic practice relating sonification to environments", ed. Peter Sinclair, May 2012. [112]
• Leonardo Music Periodical 23: "Audio Art", ed. Nicolas Collins, 2013, 106 pp. [113] [114]
• eContact xvi.2: "Sound Art and Interactivity in Singapore", ed. PerMagnus Lindborg, Montreal: Canadian Electroacoustic Community, 2014. (English)/(French)
• Mono ii: "Cochlear Poetics: Writings on Music and Sound Arts", eds. Miguel Carvalhais and Pedro Tudela, Porto: i2ADS Enquiry Group in Art and Intermedia (NAi)/FBAUP, Jan 2014, 248 pp. Selected essays. [115] (English),(Portuguese)
• Leonardo Music Journal 25: "Politics of Sound Fine art", ed. Nicolas Collins, MIT Press, Dec 2015. [116]
• n.paradoxa 37: "Sound?Racket!Voice!", London, Jan 2016, 95 pp. Contributors: Marie Thompson, Sarah Frost, Maia Urstad, Tansy Spinks, Luz María Sánchez, Sally Deskins, Jill Scott, Annea Lockwood, Sylvie Lacerte, Pamela Z, Ros Bandt, Camille Norment, Suzanne Herrera Li Puma, Jodi Rose, Kaffe Matthews, Katrinem, Annie Goh, Vanessa Gravenor, Irene Noy.
• Revista Arta six(18): "Arta sunetului / Sound Art", 2016. Excerpt. [117] (Romanian)/(English language)
• Continent. 5(three): "Acoustic Infrastructures", eds. Jamie Allen, Lital Khaikin, and Isaac Linder, Aug 2016.
• Evental Aesthetics half-dozen(i): "Sound Art and Environs", ed. Gascia Ouzounian, 2017.
• Glissando 31: "Sound fine art", ed. Daniel Brożek, Warsaw: Pro Musica Viva Foundation, 2017. (Shine)
• Seismograf: "Sound Art Matters", eds. Sanne Krogh Groth, Anette Vandsø, Ulrik Schmidt, and Morten Søndergaard, 2017. Based on the conference held in Aarhus in June 2016.
• Leonardo Electronic Almanac 22(iii): "Sound Curating", eds. James Bulley and Ozden Sahin, Dec 2018.
• OEI: "Ljudkonst", eds. Åsa Stjerna and Andreas Engström, Stockholm: OEI, May 2019. [118] (Swedish)

Essays (pick) [edit]

• David Toop, "Sonic Blast", in Sonic Blast: The Art of Sound, London: Hayward Gallery, 2000, pp 107-131. "[Sound art is] sound combined with visual fine art practices" (107).
• Max Neuhaus, "Audio Art?", in Volume: Bed of Audio, New York: P.S. ane Contemporary Art Eye, 2000.
• Keith Townsend Obadike, "What'southward in a Proper name? Seeing Audio Fine art in Black Visual Traditions", Art Journal sixty:four, Winter 2001, pp iv-v.
• Julian Cowley, Annotations for Sound Art, 2003, 11 pp.
• Kenneth Goldsmith, "Bring Da Noise: A Brief Survey of Sound Art", NewMusicBox, i Mar 2004. [119]
• Golo Föllmer, "Sound Art" / "Audio Art", English trans. Rebecca van Dyck, MediaArtNet, 2004. "While the term sound art has established itself for the general, not-media-specific expression of [artistic ways of dealing with sounds], in the nowadays context audio art stands for audio art for whose production technical media are either essential or necessary." (English)/(High german)
• True cat Promise, "Sound Art / Mobile Art", in Sound Scripts: Proceedings of the Inaugural Totally Huge New Music Festival Briefing 2005, eds. Cat Hope and Jonathan Marshall, Edith Cowan University, 2006, pp 42-38.
• Douglas Kahn, "The Arts of Sound Art and Music", The Iowa Review Web 8(1): Special issue on Sound Fine art, ed. Ben Basan, Feb/March 2006. "I took [Dan] Lander'south idea [of "musicalization of sound"] and began to historically research and substantiate it, first in the late-1980s and later in my book Dissonance, Water, Meat [(1999)]" (7).
• Christoph Cox, "Von Musik zum Klang: Sein als Zeit in der Klangkunst", Sonambiente Berlin 2006: Klang Kunst Sound Fine art, Heidelberg: Kehrer, 2006, pp 214-23. (German)
  • "From Music to Sound: Being as Time in the Sonic Arts".
• Anne Thurmann-Jajes, "Audio Fine art", trans. Judith Rosenthal, in Sound Art: Between Avant-Garde and Popular Culture, eds. Anne Thurmann-Jajes, Sabine Breitsameter and Winfried Pauleit, Cologne: Salon, 2006, pp 29-35.
• Miguel Molina Alarcón, "Echoes of Sound Art in Spanish Historical Avant-Garde", in MASE, 2006.
  • "Ecos del arte sonoro en la vanguardia histórica española (1909-1945)", in MASE, 2006. (Castilian)
• Christoph Metzger, "Sounds Typically German language - 'Klangkunst'", World New Music Magazine xvi (Jul 2006), ed. Stefan Fricke, Saarbrücken: PFAU, pp 53-57.
• Andy Hamilton, "Music and the Aural Arts", British Journal of Aesthetics 47:1 (January 2007), pp 46-63.
• Paul Hegarty, "Audio Art", Chapter eleven of Dissonance/Music: A History, Continuum, 2007, pp 169-178.
• Volker Straebel, "Zur frühen Geschichte und Typologie der Klanginstallation", in Klangkunst, ed. Ulrich Tadday, Munich: Richard Boorberg, 2008, pp 24-46. (High german)
• Alan Licht, "Sound Art: Origins, evolution and ambiguities", Organised Audio xiv:one (April 2009), pp iii-10. "The roots of sound fine art lie in the disjunction of soundand image afforded past the inventions of the telephone and sound recording likewise as the ages-old notion of audio-visual space" (4).
• Andreas Engström, Åsa Stjerna, "Sound Fine art or Klangkunst? A Reading of the German and English Literature on Sound Fine art", Organised Sound 14:1, Apr 2009, pp 11-18.
• Joseph Nechvatal, "Towards a Sound Ecstatic Electronica", HZ 15 (September 2010), Stockholm: Fylkingen. [120]
• Robert Michael Encephalon, "Genealogy of 'Zang Tumb Tumb': Experimental Phonetics, Vers Libre, and Modernist Audio Art", Grayness Room 43 (Jump 2011), pp 88-117.
• Carsten Seiffarth, "About Audio Installation Art" / "Om lydbasert installasjonskunst", Kunstjournalen B-post, 2012. "[T]he sound art I focus on in my curatorial piece of work is primarily what Bernhard Leitner in one case labelled 'sound-space-fine art'". (English)/(Norwegian)
• Jørgen Larsson, "Sound art in 2012" / "Lydkunst in 2012", Kunstjournalen B-post, 2012. (English)/(Norwegian)
• Brian Kane, "Musicophobia, or Sound Art and the Demands of Art Theory", Nonsite 8 (20 Jan 2013). [121]
• Edwin Lo (羅潤庭), "The State of Sound Practices in Hong Kong" / 香港聲音實踐現況, 2013. (English)/(Chinese)
• Gascia Ouzounian, "Sound Installation Art: From Spatial Poetics to Politics", Music, Audio and Infinite: Transformations of Public and Individual Experience, ed. Georgina Built-in, Cambridge: Cambridge University Press, 2013, pp 73-89. [122]
• Gascia Ouzounian, "Sound Art", in Oxford Encyclopedia of Aesthetics, second ed., Oxford Academy Printing, 2014, pp 27-31. [123]
• Hugo Paquete, "Meta-escuta: objeto-sonoro espetro, imanência vibrátil e resto cognitivo", in Dispositivos na prática artística contemporânea #2", ed. Eduarda Neves, Centro de Estudos Arnaldo Araújo da CESAP/ESAP, 2015. (Portuguese)
• Katsushi Nakagawa, Tomotaro Kaneko, "A Documentation of Sound Art in Japan: Audio Garden (1987–1994) and the Sound Art Exhibitions of 1980s Nippon", Leonardo Music Journal 27, Dec 2017, pp 82-86.
• Edward Sanderson, "Is Sound Critical?—"Grounds for Sound" Inquiry and Exercise", Ran Dian, 29 Jun 2018. On critical sound art in China.
• Judy Dunaway, "The Forgotten 1979 MoMA Audio Fine art Exhibition", Resonance ane:1, Bound 2020, pp 25-46, PDF.

Theses [edit]

• Gascia Ouzounian, Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958, San Diego: University of California, 2008, 373 pp. PhD dissertation.
• Elizabeth Biggs, Everyone Play: Sound, Public Infinite, and the (Re)Making of Place, Princeton, NJ: Princeton University, 2009, 143 pp. PhD dissertation.
• Tristan Louth-Robins, Still and Moving Lines. Listening and Signification in Sound Art, University of Adelaide, 2010, 65 pp. Master's thesis.
• Yolande Harris, Scorescapes: On Sound, Environment and Sonic Consciousness, Leiden University, 2011, 146 pp. PhD dissertation.
• Laura Maes, Sounding Audio Art: A Study of the Definition, Origin, Context, and Techniques of Audio Art, Ghent: Universiteit Gent, 2013, xxiv+571 pp. PhD dissertation.
• Hugo Paquete, Entropia disfuncional: dissonance, glitch eastward caos nas artes sonoras, Universidade de Aveiro, 2014, 193 pp. Chief's thesis. (Portuguese)
• Lucie Vágnerová, Sirens/Cyborgs: Sound Technologies and the Musical Torso, New York: Columbia University, 2016, 242 pp. PhD dissertation.
• Linnea Semmerling, Listening on Display: Exhibiting Sounding Artworks 1960s-at present, Maastricht: Maastricht University, 2020. PhD dissertation. [124] [125] [126] [127]

List discussions [edit]

• "New Sonic Paths: Sound Studies Expanded", -empyre, July 2014. Moderated past Renate Ferro, Timothy Murray, et al. Intro.

Pierre Schaeffer, Traité des objets musicaux, 1966. Contains "Acousmatics" (EN).

Movie documentaries [edit]

• All Sounds Considered, dir. Florence Müller and Goran Vejvoda, 2017, 96 min.

Primary references [edit]

• Athanasius Kircher, Phonurgia nova, sive conjugium mechanico-physicum artis & natvrae paranympha phonosophia concinnatum, Kempten: Rudolph Dreherr, 1673. (Latin). Early book on audio, acoustics and music; describes acoustic apparatuses and phenomena such as the tuba stentorophonica [the loud trumpet], the statua citofonica [the talking statue], or the Aeolian harp. Scans online: [128], [129]. Commentaries: [130], [131].
• Luigi Russolo, L'Arte dei rumori, Milan: Edizione Futuriste di Poesia, 1916, 92 pp. (Italian). The manifesto was commencement published on 11 March 1913.
  • The Art of Noises, trans. Robert Filliou, Something Else Press, 1967. Manifesto but.
  • The Art of Noises, trans. Barclay Brown, New York: Pendragon, 1987, 87 pp.
  • "El arte de los ruidos. Manifiesto Futurista", Sin Titulo iii (1996), UCLM, pp 8-15. (Spanish). Manifesto only.
  • Die Geräuschkunst, trans. Justin Winkler and Albert Mayr, Basel: Akroama, 1999. (German)
  • 50'Art des bruits. Manifeste futuriste, 2003; 4th ed., 2013. (French). Manifesto only.
  • Iskusstvo shumov [Искусство шумов]. (Russian). The manifesto only.
• Erik Satie, Musiques d'ameublement, Salabert, 1999. 'Furniture music' scores written from 1917 to the 1920s. See besides J.R.F., "Conseils d'été", Vogue i (15 June 1920), Paris, p 15, a column mentioning their beginning performance by Satie: "Furniture music? It is music that must be played between the acts of a theatrical or musical spectacle, and which contributes, like the sets, the defunction or the furniture of the hall in creating an temper. The musical motifs are repeated without end and information technology is useless, says Erik Satie, to mind to them: i lives in their ambiance without paying them any attention. It's up to you lot to find a style to hear this musique d'ameublement and to devise an opinion on the topic. But that has nothing to do with the article of furniture we're and so taken with this season. Information technology'south simply an opportunity to brand and hear music, the passion of the moment." (trans. from Mary E. Davis, Erik Satie, 2007, p 128)
• Pierre Schaeffer, À la recherche d'une musique concrète, Paris: Seuil, 1952. (French)
  • In Search of a Physical Music, trans. John Dack and Christine N, University of California Press, 2012, 244 pp.
• John Cage, Silence: Lectures and Writings, Wesleyan Academy Press, 1961, 276 pp.
• Pierre Schaeffer, Traité des objets musicaux, Paris: Seuil, 1966; 2nd ed., 1977. (French)
  • Includes the essay "Acousmatics"; trans. in Audio Culture: Readings in Modern Music, eds. Christoph Cox and Daniel Warner, Bloomsbury, 2004, pp 76-81. Trained every bit a radio engineer and journalist, Schaeffer was fascinated by the fact that radio and recording made possible a new experience of sound--what he called "reduced listening" or "acousmatic listening"--that disclosed a new domain of sounds--objets sonores or sonorous objects, the objects of "acousmatic listening".
• Bernhard Leitner, "Sound Architecture - Space created through traveling sound", Artforum 9:7 (March 1971), New York.
• Bernhard Leitner, "Sound Space Manifesto", New York, 1977.
• R. Murray Schafer, The Tuning of the World: Toward a Theory of Soundscape Design, New York: Knopf, 1977; repr. every bit The Soundscape: Our Sonic Surroundings and the Tuning of the Globe, Rochester, VT: Destiny Books, 1993, 320 pp.
• Brian Eno, "Ambience Music", Ambience one: Music for Airports, EG Records, 1978. Liner notes to LP/cassette. [132] [133]. See also "Ambient Music", in Audio Culture: Readings in Modern Music, eds. Christoph Cox and Daniel Warner, Bloomsbury, 2004, pp 94-97, written in 1996; and discussion of his self-published Music for Not-Musicians, c1970, in Eno and Mills, More Dark than Shark, 1986.
• David Toop, Sea of Sound: Aether Talk, Ambient Audio and Imaginary Worlds, Serpent's Tail, 1995, 306 pp; 2001.

Bibliographies [edit]

• Selected articles on sound art at SoundArtArchive.net
• Manufactures and papers on audio fine art, compiled by Jérôme Joy and Thom Holmes.
• http://world wide web.bmbcon.demon.nl/theory/
• http://www.soundculture.org/texts.html
• http://www.march.es/arte/madrid/exposiciones/arte-sonoro/bibliografia.aspx?l=2

Resources [edit]

• UbuWeb Sound
• Sound art in Continuo's Documents & on Continuo's weblog
• An International Archive of Sound Fine art
• Ràdio Web MACBA
• Radius
• Her Noise Archive, a resource of collected materials investigating music and audio histories in relation to gender, by Anne Hilde Neset and Lina Džuverović.
• Ear Room, an online interview publication focusing on the complex use of audio in creative practice, by Marking Peter Wright.
• The African and Asian culling database, "experimental, sound art, dissonance and alternative electronic music from underrated continents"; maintained past Syrphe.
• Sound fine art section on Digicult
• SONM Archive, Audio Archive of Experimental Music and Sound Art, established in in 2010 by Francisco López.
• ICA SoundWorks, a collection of over one hundred commissioned sound works.
• Sound art in Latin America
• Soundbag, an cyberspace projection by Rolf Langebartel.
• Ekho: Women in Sonic Art
• Tacet, annual bilingual (French and English) experimental music review (*2012). [134]
• Soundsite: The online journal of Audio Theory, Philosophy of Sound and Sound Art
• Sound Art Text, a blog by Hannah Kemp-Welch.
• The EAM librarian, a blog near literature and web resources on electroacoustic music and audio art, edited past Pär Johansson.
• Sound art on Academia.edu
• Rare Books on Deafness, Hearing, and Hearing Devices
• foundsoundscape, online radio collage of plant-sound places, curated by Janek Schaefer, with contributions from 100+ artists.
• 'Nendú: A possible annal (realized between 2016-2018) of Brazilian sound art' by Rui Chaves
• Outside Sounds: Extrapool Audio Archive, eds. Wesley Goatley and Extrapool.

Meet also [edit]

Field recording, Radio art, Streaming media, Audio studies, Dissonance, Circuit bending, SuperCollider.

	Visual art
Styles and movements – Collections – Historians and critics – Preservation and conservation – Reference works

barnettoperepien.blogspot.com

Source: https://monoskop.org/Sound_art

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