Sound art and spatial practices : situating sound installation art since 1958
Sound art and spatial practices : situating sound installation art since 1958
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声音艺术与空间实践：1958年以来的声音装置艺术
DOI：
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
G. Ouzounian
中科院分区：
文献类型：
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作者：
G. Ouzounian
本论文探讨了声音装置艺术的产生和发展，这是一个自20世纪50年代末以来在音乐，建筑和媒体艺术实践之间发展起来的未被认可的传统。与许多音乐作品不同的是，声音装置是在空间中组织声音的;因此，它们需要考虑声音的空间情境性的新理论和分析模型。现有的空间声音话语优先考虑声音定位的技术描述。通过对比，本文探讨了空间概念在社会，文化和政治上的解释方式，以及空间组织的声音作品如何反映和抵制这些不同的建设。本论文运用批判性空间分析和音乐批判性研究的跨学科方法，探讨了战后西方艺术音乐、建筑和媒体理论中的声学空间概念，声音装置艺术与日常生活哲学和社会空间的关系，音乐表演、概念艺术和声音雕塑之间的历史联系，以及声音装置艺术与音乐的关系。身体作为声音装置的场所;以及面对种族和性别政治的声音空间策略。通过这些不同的研究，本文提出了一个考虑声音的本体论模型：一个分析和接受的批判模型，它使人们能够理解与空间和地点本体论有关的声音
This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on spatial sound privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an ontopological model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place