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SoundArt
database
SAET
SoundArt Exhibitions Timeline

MAINTAINED BY Jerome Joy & Thom Holmes










http://jeromejoy.org/SAET/
 
 
 
 

About

Last changed (NYC USA time): 2013/11/04 05:07

About(Edit)

SOUND ART EXHIBITIONS TIMELINE, 1964-2004


HISTORIQUE DES EXPOSITIONS D’ART SONORE, 1964-2004

(Jérôme Joy)


This timeline of sound art exhibitions was written in order to obtain a historical scope of the development of the sound art practices into the contexts of contemporary art and artistic shows in general [1]. The main criteria used for selection was a collective public presentation of sound and musical works (which overlap the concert framework such as installations, performances, etc., ie sound and music events which use another public configuration than the presentation on a stage, and which haven't a beginning nor an end) under a topic, a theme or a specific question and problem expressed by the title of the event. The hypothesis developed while probing this timeline would point out that, public forms of the « Music of Sounds » [2] are explored by artists and public organizations beyond the principle of genre (art, music). At the same time, it's interesting to distinguish approaches issued from contemporary art and more and more based on the "images of sound" (or it's iconography, postures and icons, and more generally, sound & music culture) than physical and articulation properties of organisations of sounds. Nevertheless through this timeline it's important to show that for most of such events before the 90's we can find origins in experimental music, sound performance (such as sound poetry for instance) and extensions of sculpture, and the intentions to explore intangibility, expanses & space, and experiences with environments, machines and systems [3] . This permits to signify a certain unabashed[4] approach and practice that are present into public events and shows along the first decennies, more than the recent ones. These hypothesis still remain to be explored.

This study is in progress, so the description of the entries will be evolving month after month. If you've got information concerning some uncompleted event description or in order to complete some of them, thanks for contacting me (joy(at)thing.net). Any comment is welcome.


Cet historique des expositions d'art sonore provient de différentes études qui ont permis d'obtenir un panorama des pratiques sonores dans le contexte de l'art contemporain et des présentations artistiques en général [5]. Le principal critère de sélection était la présentation collective d'œuvres sonores et/ou musicales (c'est-à-dire qui dépassent le cadre traditionnel du concert, comme par exemple les installations, les performances, etc. et tout événement sonore et musical qui se présente dans une configuration publique autre que la scène, et qui propose une dimension sans début ni fin), annoncée sous une thématique, ou une question et problématique spécifiques exprimées par le titre de l'événement lui-même. L'hypothèse proposée au travers de l'établissement de cet historique voudrait faire ressortir la spécificité des formes publiques de ce que nous pouvons appeler la « Musique des Sons » [6] qui sont explorées par les artistes et les structures artistiques au-delà de la distinction de genres (art, musique). Parallèlement, il est intéressant de distinguer les approches issues de l'art contemporain et qui sont de plus en plus fondées sur les "images des sons" (ou leur iconographie, les postures et les icônes qui y sont liées, et de manière plus générale, la culture sonore et musicale qui les fondent ou qui les prolongent), plutôt que sur les propriétés et qualités physiques et d'articulation de l'organisation des sons. Néanmoins, au travers de cet historique, il est important de noter que la plupart de ces événements et expositions avant les années 90, trouvent leurs origines dans la musique expérimentale, la performance sonore (comme la poésie sonore par exemple) et dans le dépassement de la sculpture, tout autant que dans les intentions d'explorer l'incorporéalité et l'immatérialité (ce qui ne veut pas dire que l'expérience physique et de la perception sont absentes), les étendues et les espaces, ainsi que l'expérience des environnements, des machines et des dispositifs [7]. Ceci peut démontrer une certaine "décomplexion" présente dans ces propositions d'exposition durant les premières décennies ; ce qui serait moins probant dans les manifestations plus récentes. Ces hypothèses restent à être explorées.
L'arrêt de cet historique en 2004 correspond au lancement de cette étude, à la même date donc, dans le cadre du montage du postdiplôme / laboratoire de recherche Locus Sonus.

Cette étude est en cours ; la description complète des entrées évoluera au fil des mois. Si vous avez des compléments ou des corrections à apporter sur certaines entrées, merci de me contacter (joy(at)thing.net).



Other / Autres Timelines :










  1. Audio Files - Sound Art Now, An Online Symposium (by ArtForum) : http://artforum.com/symposium/id=6682&page_id=0
  2. According to Leigh Landy : La musique des sons / The Music of Sounds, Université Paris IV-Sorbonne (Eds.), Musicologie, informatique et nouvelles technologies (MINT) - Série Musique et nouvelles technologies no. 3, 2007. Abstract : For over a century musicians have been making music using the widest variety of sounds beyond the notes normally associated with music. For the last sixty years musicians have been able to use various forms of technology to assist in the creation of sound-based works. The Music of Sounds sets out to demonstrate that this musical corpus demonstrates paradigmatic behaviour despite the fact that its repertoire spans a vast horizon. This behaviour sets it apart, to an extent, from note-based music. The book also attempts to establish that much of the music is accessible to a larger public than the one it currently reaches. To achieve these two aims the repertoire is introduced through selected examples in order to illustrate paradigmatic aspects and elements related to accessibility. The field of study related to sound-based music is also delineated. Examples of sound-based musical research are presented to point out potential opportunities for those interested in this young repertoire., http://www.mti.dmu.ac.uk/~llandy/
  3. « (...) [P]erformed in front of an audience [sound art] can too easily be perceived as music or theater. If sound art happens on radio it becomes radiophonics or, again, music. So sound art ends up in the heavily culturally coded environment of the art gallery. (...) [T]he pieces which attain the position of highest importance in the hierarchy usually have a strong visual presence (...) » (Ian Andrews, What's Wrong with Sound Art, 1998, http://www.sysx.org/soundsite/texts/what_is_wrong.html )
  4. (casual, relaxed, uninhibited, barefaced, forthright and without complexes)
  5. Audio Files - Sound Art Now, An Online Symposium (by ArtForum) : http://artforum.com/symposium/id=6682&page_id=0
  6. Selon Leigh Landy : La musique des sons / The Music of Sounds, Université Paris IV-Sorbonne (Eds.), Musicologie, informatique et nouvelles technologies (MINT) - Série Musique et nouvelles technologies no. 3, 2007. Abstract : For over a century musicians have been making music using the widest variety of sounds beyond the notes normally associated with music. For the last sixty years musicians have been able to use various forms of technology to assist in the creation of sound-based works. The Music of Sounds sets out to demonstrate that this musical corpus demonstrates paradigmatic behaviour despite the fact that its repertoire spans a vast horizon. This behaviour sets it apart, to an extent, from note-based music. The book also attempts to establish that much of the music is accessible to a larger public than the one it currently reaches. To achieve these two aims the repertoire is introduced through selected examples in order to illustrate paradigmatic aspects and elements related to accessibility. The field of study related to sound-based music is also delineated. Examples of sound-based musical research are presented to point out potential opportunities for those interested in this young repertoire., http://www.mti.dmu.ac.uk/~llandy/
  7. « (...) [P]erformed in front of an audience [sound art] can too easily be perceived as music or theater. If sound art happens on radio it becomes radiphonics or, again, music. So sound art ends up in the heavily culturally coded environment of the art gallery. (...) [T]he pieces which attain the position of highest importance in the hierarchy usually have a strong visual presence (...) » (Ian Andrews, "What's Wrong with Sound Art", 1998, http://www.sysx.org/soundsite/texts/what_is_wrong.html )







Jérôme Joy
http://jeromejoy.org/
Jérôme Joy is a French composer and performer, living and working in Nantes (F). He studied at the Conservatory of Bordeaux (F) (instrumental and electroacoustic composition classes and master-classes with Luis de Pablo, François Rossé, François Bayle and Ivo Malec) and started as a performer, electronic / electroacoustic improviser and "microphonist" in 1982. Since the beginning of the eighties, his work is based on sound intensity, duration and loudness as structure and de-structuring of music. He’s currently member of the WLP World Listening Project board in Chicago, committee member of Avatar Québec, member of the research lab GRMS UQÀM Montreal, and member of the art-ivist community The Thing (since 1997). He was a co-founder of the instrumental ensembles Proxima Centauri (Bordeaux, F) and NoEnsemble (Nantes, F), and a founding member of improvisation & electronic music bands (pizMO, PacJap, Joystinckler, JOKTTJJEG, JJEL, MXPRMNTL) in France, in Canada and in Japan. He's founder of several collaborative projects on Internet since 1995 (Collective JukeBox, nocinema.org, Sobralasolas !, RadioMatic, ForumHub, etc.). He has played, performed and lectured widely in Europe and internationally, and he has collaborated and performed with many musicians. His music is performed by soloists and several music ensembles in Europe : Proxima Centauri, Formanex, Oh Ton Ensemble, etc. In recent years Joy has written many articles and papers for international journals and soundart and music reviews. He is the recipient of several commissioned music and radio works, and of residency grants from music and art centers in North America, Europe, North Africa and Asia. His cds are available on www.metamkine.com, tiramizu.net, Fibrr records, and Ohm Avatar.
After having teaching at Villa Arson in Nice France from 1992 to 2010, he is presently tenured professor at the National School of the Arts at Bourges and research co-director -with Peter Sinclair- of Locus Sonus, audio in art, research lab, http://locusonus.org/ . He is currently engaged in a Ph.D. in audio art & experimental music at Laval University Québec (title: ‘Internet Auditoria - Music Composition and Environmental Aesthetics - Auditorium Earth-Mars — Distance Listening & Music for Sonic Expanses — A new paradigm of the listening into the contexts of networked music and soundart’).
On http://jeromejoy.org/ , he's developing a series of studies about experimental music and sound art :
- Environmental Music (David Tudor, Scratch Orchestra, La Monte Young, Iannis Xenakis, RIP Hayman, John Cage, EAT Pavilion, Michel Waisvisz, Éliane Radigue, Karlheinz Stockhausen, Gordon Mumma, Maryanne Amacher, Glenn Gould, Luc Ferrari, etc. ),
- Early Works of Noise Music (La Monte Young, Christian Wolff, Max Neuhaus, etc. ),
- Music at High Volume,
- Music with Long Delays,
- Networked Music (NMSAT, Circuits & Organology, Networked Sonic Spaces, ),
- Music out in the Open,
- Internet Auditoria,
- Extended Music & Music for Sonic Expanses, etc.

Thom Holmes
http://www.thomholmes.com/
Thom Holmes is an author, music historian, and book editor living in New York City. Holmes studied composition with Paul Epstein at Temple University and was a member of Epstein’s improvisation group in the early 1970s. He was the publisher and editor of the magazine Recordings of Experimental Music from 1979 to 1985. Working with John Cage, Holmes created and maintained the only discography of Cage’s music authorized by the composer. His experience in composing electronic music began with tape composition when he was a teenager, extended to real-time performance works on the Moog Modular synthesizer and currently encompasses works created using software synthesis. A student of contemporary music history, he has written books about the history of electronic music, jazz, rock, classical music and music technology. Holmes is also an amateur paleontologist and author of over 20 books about evolution, dinosaurs, and other prehistoric life as well as a developmental editor of humanities textbooks for a major textbook publisher.

Books :
- Thom Holmes, Electronic and Experimental Music : Technology, Music and Culture, Scribner, 1985 (1st Ed.), ISBN 978-0-684183954 ; New York, London : Routledge, 2002 (2nd Ed.), ISBN 978-0-415936439 ; New York, London : Routledge, Taylor & Francis, 2008 (3rd Ed.), ISBN 978-0-415957826 ; New York, London : Routledge, Taylor & Francis, 2012 (4th Ed. revised), ISBN 978-0-415896467.
- Thom Holmes, Electronic and Experimental Music : Pioneers in Technology and Composition, London : Routledge, 2002, ISBN 978-0-415936446.








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