Array, the journal of the International Computer Music Association
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Review Concert 19
No full textConcert No. 19. Friday, June 21, 2019, 8:00 p.m., Sheen Center, Loreto TheaterReviewed by Peter Hule
Reviews Installations
No full textHaein Kang: Illusion: you can hear, but you cannot see (2018), NYU Blackbox Theater, June 19, 2019Reviewed by Teresa Marie Connors
Daniel B. Formo: The Orchestra of Speech (2018), NYU Library, June 17–22, 2019Reviewed by Teresa Marie Connors
Alexis S Crawshaw: Kroumatograph No. 4 (2019), Fridman Gallery, June 17–23, 2019Reviewed by Teresa Marie Connors
Mara Helmuth, Yunze Mu, Owen Hopper, Zhixin Xu, Shawn Milloway: Five Worlds, NYU Library, June 17, 2019, 3 p.m.Reviewed byWing-Lam Si
A Summary and Transcript of the ICMC 2010 UnConference UnSession on Computer Music Performance
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Beyond Sound in Sound Art: Society and Politics in the Art of Yasunao Tone and Akio Suzuki
Get PDFThe history of sound art has been a case of displacement and misplacement. It has been displaced due to the nature of the medium – sound, a phenomenon that is heard and felt but not seen. In a visually dominated world like ours, this spells the relegation of the importance of sound and audio sensitivity in a human’s perception, cognition and consciousness. It is misplaced as it is more often categorically subsumed under the other art form, music. Sound art is in fact one of the most ancient of art forms when the name of Greek god of wind, Aeolus, was used to name the Aeolian harp. Sound art has often been defined, in the late 20th century and early 21st century and by academics and critics, as a novel form of art. Once again it is another case of displacement and misplacement. The two case studies which will be discussed in this paper will foreground the social and political contexts of the artists as well as their responses to these socio-political conditions to demonstrate that sound art, just like any other art forms like paintings, music and theatre, is reflexive of the times of the creators, and more