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Listening to the world. Sound, Media and Intermediality in Contemporary Sound Art.  [cached]
Anette Vandsoe
SoundEffects , 2011,
Abstract: One of the newer tendencies in contemporary sound art is the use of scientific modes of data collection through laboratory set ups or field recordings, as it is for instance seen in media artist Anne Niemetz' and nano-scientist Andrew Pelling's The Dark Side of the Cell (2004) or Katie Egan and Joe Davies Audio Microscope (2000). This article tries to describe how the sound experience is conditioned by such art projects. The main argument in the article is that in such art projects we are not just experiencing ‘the world’, ‘the sound’, ‘the technology’ or ‘the listening’ but the mediating gesture happening between these positions. In order to describe this complex mediating operation the article uses a variety of media and intermedial theory particularly Lars Ellestr ms (Ellestr m, 2010) distinctions between qualified, basic and technical media. The latter is used to describe how the intermediality of such sound art projects is not just between conventional medias of art – as for instance text and sound – but between very different media aspects such as “sound” and “microphone” and “art”. On behalf of such an analysis the article claims that these art projects can be seen as an articulation of an auditory turn, in which sound no longer appears to be a transparent channel between us and the world, but rather a media conditioning that which is experienced.
FREUD’S SONOROUS OBJECT
Claudio Munayer David
Psicanálise e Barroco em Revista , 2006,
Abstract: The initial goal of this research is to try to comprehend why music has not attracted substantial attention on psychoanalyses studies yet though the importance of several artistic influences since the earliest Freud’s theories elaborations. It recovers some original representations from psychoanalyses conceptions due to the belief that this misconception is paradoxically linked to the psychoanalyses history founder. The association of verbal language and the musical images appears to be prosperous due to the fact that both of them can be understood by sonorous representations. In the Project for a Scientific Psychology (1895), for example, Freud describes desire qualification through children’s screams until the word indicating the sonorous representation on the drives origin. Considering Freud’s ideas it is possible to deduct that determined speech sonorous representations besides the verbal image interferes on the discourse semantics or even on the thought in a constant game between word representation and its drive function. This research demonstrates that the speech has different sonorous representations associated to all kind of psychic processes and some of them can betranslated by music self-logic.
The Norwegian School Subject Art and Crafts - Tradition and Contemporary Debate  [cached]
Ingvild Digranes
FORMakademisk , 2010,
Abstract: This article will show the development of the Norwegian school subject Art and Crafts from its beginning to what can be labeled the New Reconstructionist Stream seen today. It sums up the essence of the practice tradition and debate throughout the subject’s 120 years of history as a school subject in Norwegian general education (1st through 10th year). It addresses several theoretical approaches to describe the history of the subject, and compares these to the practice traditions as seen in original sources. It will trace how the strong practice tradition can be seen as one of the main reasons why the Norwegian Art and Crafts school subject show a new purpose for the content, a purpose that highlight democratic design and citizenship by introducing a global sustainable perspective in general education.
The aesthetic ear: sound art, Jacques Rancière and the politics of listening  [cached]
Matthew Mullane
Journal of Aesthetics & Culture , 2010, DOI: 10.3402/jac.v2i0.4895
Abstract: If we are to value “sound art” as a worthwhile creative form and a legitimate fragment in the history of art, we must move away from debates of nomenclature and forge ahead to critically examine sound's aesthetic and political potential. Approaching “sound art” as a problematic and unnecessary term, what follows is a simultaneous survey and refutation of recent publications on the topic and an assertion of sound's aesthetics via the theory of French philosopher, Jacques Rancière. Heard through the writings of Rancière, contemporary work in sound breaks out of its exclusive sphere and reveals itself as a vivid commentary on the everyday and a keen activator of “heterogeneous” political elements. Framed by an overview of the details and import of Rancière's recently translated collections is an analysis of four active artists whose work engages the “aesthetic ear” and proves itself to be more than merely sound-for-sound's sake.
Tradition et évolution dans l’art du Powwow contemporain Tradition and Evolution in the Art of the Contemporary Powwow  [cached]
Jeanine Belgodère
Revue LISA / LISA e-journal , 2009, DOI: 10.4000/lisa.2766
Abstract: Inter-tribal Powwows, most of which feature dance contests, are both a social gathering and an artistic performance. Primarily designed to preserve and to continue the spiritual and communal values inherent in Native American culture, they contribute to strengthening the bond of friendship between all tribes and ultimately to reunifying the circle. This deep sense of cultural belonging is essentially conveyed through dance where tradition and modernity interact. Evolving over decades, dance has undergone significant changes which mirror a moving identity. This is also noticeable in the women’s dances, a possible reflection of the evolution of the relations between men and women. If the so-called traditional dances such as the Grass Dance reveal a less significant mix of tribal styles, others such as the Fancy Dance — one of the newest — would tend to reflect a more homogeneous identity. Indeed, the Fancy Dance integrates some steps and elements of the dress belonging to a greater number of tribes into the style. Therefore it welcomes diversity within unity. On the whole, inter-tribal Powwows have become a medium for the pantribal expression of Indian identity. Within the context of panindianism as well as competition, might the spiritual values and the unique traits of the various dances handed down generations be jeopardized?
Differentiation with stratification: a principle of theoretical physics in the tradition of the memory art  [PDF]
Claudia Pombo
Physics , 2015, DOI: 10.1007/s10701-015-9936-z
Abstract: The Art of Memory started with Aristotle's questions on memory. During its long evolution, it had important contributions from alchemist, was transformed by Ramon Llull and apparently ended with Giordano Bruno, who was considered the best known representative of this art. This tradition did not disappear, but lives in the formulations of our modern scientific theories. From its initial form as a method of keeping information via associations, it became a principle of classification and structuring of knowledge. This principle, which we here name {\it differentiation with stratification}, is a structural design behind classical mechanics. Integrating two different traditions of science in one structure, this physical theory became the modern paradigm of science. In this paper, we show that this principle can also be formulated as a set of questions. This is done via an analysis of theories, based on the epistemology of observational realism. A combination of Rudolph Carnap's concept of theory as a system of observational and theoretical languages, with a criterion for separating observational languages, based on analytical psychology, shapes this epistemology. The `nuclear' role of the observational laws and the differentiations from these nucleus, reproducing the general cases of phenomena, reveals the memory art's heritage in the theories. Here in this paper we argue that this design is also present in special relativity and in quantum mechanics.
Sound [signal] noise: significative effects in contemporary sonic art practices  [cached]
Thomas B?gevald Bj?rnsten
Journal of Aesthetics & Culture , 2012, DOI: 10.3402/jac.v4i0.18615
Abstract: The article discusses the intricate relationship between sound and signification through notions of noise. The emergence of new fields of sonic artistic practices has generated several questions of how to approach sound as aesthetic form and material. During the past decade an increased attention has been paid to, for instance, a category such as “sound art” together with an equally strengthened interest in phenomena and concepts that fall outside the accepted aesthetic procedures and constructions of what we traditionally would term as musical sound—a recurring example being “noise”. In order to explore the effects and signifying modes of sonic material considered peripheral to established musicological methodologies, other types of discourses have appeared. The aim of this article is to investigate and evaluate such discourses of the sonic arts and to do so from the perspective of a continuum between sound and noise. It is moreover suggested that we consider sound in relation to the concept of “signal” which is exemplified through analysis of actual works.
Tradition and Art Appreciation: A Boost to Cultural Tourism in Nigeria
KO Bakare, TY Akinbileje
African Research Review , 2010,
Abstract: It is abysmal and disheartening to observe that Nigeria is depleted of parts of its cultural treasury to looters. It is delighted to deduce that these assets (tradition and art) are indispensable to our cultural pride and are potential assets to tourism, which has recently become world s gold mine . The paper examines the implications of non-challant attitudes of Nigerians toward cultural preservation which adversely perch on our cultural bearing and disposition. It suggests solutions to some upheavals been faced by cultural tourism in Nigeria. It further unveils the deception and antics used by foreigners to dispossess us of our cultural heritage, which is consequently repackaged and sold back to us at extortionate prices. This study endeavors to document the inventory of some museums in Nigeria. In essence, the earlier Nigerians realize this, the better for us to start to reap the unflinching prospects inherent in our cultural heritage and endowment. The paper recommends that there is need for individual citizens to develop profound interest in Nigeria s cultural heritage for development of tourism industry via cultural assets, so as to generate substantial foreign exchange earnings, accelerate rural urban development, generate employment and promote local cultural exchange for national unity and identity.
Non-stimulating tradition: The Effect of Temperament on Painting Art Preferences  [PDF]
Joanna Rz?dkowska,Alicja Paracka,Natalia Frankowska
Avant : Journal of Philosophical-Interdisciplinary Vanguard , 2010,
Abstract: This study examined the effect of temperament on preferences for painted artwork. Our preferences are determined by different personality traits. The study presented here was a replication of the current study of Terror Management Theory (TMT) with the structures of temperament as individual differences. The results showed significant differences in preferences for traditional and modern art, depending on the degree of harmonization of the temperamental structures. Sanguines and melancholics in the no fear condition evaluated modern art most highly, however in the fear condition they evaluated traditional art most highly. This effect confirms the importance of individual differences and the situational variability of preferences in art.
An Appraisal of Religious Art and Symbolic Beliefs in the Traditional African Context
BOJ Omatseye, KO Emeriewen
African Research Review , 2010,
Abstract: African arts stem from their themes of symbolism, functionalism and utilitarianism, which describe African art as quite multi-functional. This however does not say that some African art does not have its underlying aesthetic import. In Africa, by virtue of their belief system, their spiritual practices have led to the creation of new artistic imageries. This is in the sense that their various artistic traditions are drawn upon as sources of inspiration. Significantly, indigenous African religion have had a greater influence on art objects-in statues, masks or other forms for use in rituals and worship. The Masquerade out at seasons could have an array of display in headdress, dance steps, art forms and objects may be ritually charged. As sonorous as the songs may sound, they carry messages beyond the rhythm. Essentially, figures, statues and shrine arts, and verbal and non-verbal arts in most African cultures are largely functional. These images have religio-metaphysical themes, which serve as the focal point of power, which links the African’s physical world to his beliefs on his essence and existence. Indeed the African art reflect images of ancestral spirits, and pantheons of indigenous gods and goddesses.
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