41,792 research outputs found
Exhibition Histories: Sonic Boom
No full textLecture and discussion at the Whitechapel Gallery about the Hayward Gallery exhibition of sound art - Sonic Boom (2000), curated by David Toop
Into the Maelstrom: Music, Improvisation and the Dream of Freedom, Volume 1
No full textInto the Maelstrom examines in two volumes the history, practice and context of musical improvisation, notably the post-1959 ‘school’ known as free improvisation. The source material includes primary research through face to face interviews, alongside systematic study of archive materials (personal, private and institutional), published and unpublished literature and interviews, film, audio recordings, photographs, magazine articles and personal experience. The intention is that it should function as a history, source book, theoretical overview and research companion for the theory and practice of improvised music
New and Rediscovered Musical Instruments Rediscovered
No full textAn essay describing the production and context of 'New/Rediscovered Musical Instruments' (edited by David Toop, first published in 1974), with an analysis of the motivation that led the various contributors to the book - Hugh Davies, Evan Parker, Max Eastley, Paul Lytton, Paul Burwell and David Toop - to invent and construct new instruments. The context includes references to organology, musicology, painting and ethnomusicology
Of Leonardo da Vinci: quills, a black giant, deluge
No full textA 45' 00" music-theatre performance devised by David Toop
for live solo voice and movement (E.laine), digital sound composition (David Toop) and HD video (Barry Lewis). The libretto for the work (written by David Toop) is drawn from the notebooks of Leonardo da Vinci. The work can exist as a live theatre performance, site-specific installation, DVD release and music release
Blow Up: Exploding Sound and Noise (London to Brighton, 1959-1969)
No full textAn exhibition of images, artefacts, sound and video curated by David Toop and Tony Herrington (managing editor of The Wire) in which the development of a noise aesthetic in the UK is traced through the work of artists John Latham and Gustav Metzger, filmmaker Jeff Keen, jazz musicians Joe Harriott and Coleridge Goode, improvisers AMM and John Stevens and sound poets Bob Cobbing and Annea Lockwood. Also an essay (published as a catalogue essay and in The Wire magazine) written by David Toop
The Myriad Creatures will be Transformed of Their own Accord
No full textSolo performance by David Toop, for strings, autonomous devices, water and air, digital electronics, percussive objects, Korean paper, glass vessels. Created for the performance series in Christian Marclay's solo exhibition at White Cube (28 January - 12 April 2015), London
Inflamed Invisible
No full textA rich collection of essays tracing the relationship between art and sound. In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art. Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works. Inflamed Invisible collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible
Inflamed Invisible
No full textA rich collection of essays tracing the relationship between art and sound. In the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art. Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works. Inflamed Invisible collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible
Lost Shadows: In Defence of the Soul, Yanomami Shamanism, Songs, Ritual, 1978
No full textRecordings of Yanomami shamanism, songs and ritual, recorded in 1978 by David Toop. Released as a 2-CD set with 40-page booklet of text and photographs. Also released in a vinyl edition with booklet insert. These recordings were made in Amazonas, southern Venezuela, now released in comprehensive form for the first time with an accompanying essay
Inflamed Invisible: Collected Writings on Art and Sound, 1976–2018
No full textIn the 1970s David Toop became preoccupied with the possibility that music was no longer bounded by formalities of audience: the clapping, the booing, the short attention span, the demand for instant gratification. Considering sound and listening as foundational practices in themselves leads music into a thrilling new territory: stretched time, wilderness, video monitors, singing sculptures, weather, meditations, vibration and the interior resonance of objects, interspecies communications, instructional texts, silent actions, and performance art.
Toop sought to document the originality and unfamiliarity of this work from his perspective as a practitioner and writer. The challenge was to do so without being drawn back into the domain of music while still acknowledging the vitality and hybridity of twentieth-century musics as they moved toward art galleries, museums, and site-specificity. Toop focused on practitioners, whose stories are as compelling as the theoretical and abstract implications of their works.
Inflamed Invisible collects more than four decades of David Toop's essays, reviews, interviews, and experimental texts, drawing us into the company of artists and their concerns, not forgetting the quieter, unsung voices. The volume is an offering, an exploration of strata of sound that are the crossing points of sensory, intellectual, and philosophical preoccupations, layers through which objects, thoughts and air itself come alive as the inflamed invisible
- …
