This interdisciplinary history and theory of sound in the arts reads the twentieth century by listening to it—to the emphatic and exceptional sounds of modernism and those on the cusp of postmodernism, recorded sound, noise, silence, the fluid sounds of immersion and dripping, and the meat voices of viruses, screams, and bestial cries. Focusing on Europe in the first half of the century and the United States in the postwar years, Douglas Kahn explores aural activities in literature, music, visual arts, theater, and film. Placing aurality at the center of the history of the arts, he revisits key artistic questions, listening to the sounds that drown out the politics and poetics that generated them. Artists discussed include Antonin Artaud, George Brecht, William Burroughs, John Cage, Sergei Eisenstein, Fluxus, Allan Kaprow, Michael McClure, Yoko Ono, Jackson Pollock, Luigi Russolo, and Dziga Vertov.
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Douglas KAHN is founding Director of Technocultural Studies at University of California at Davis. He is the author of Noise, Water, Meat: A History of Sound in the Arts (MIT Press, 1999).From Publishers Weekly:
"Sound saturates the arts of this century," writes Kahn, a professor of media arts at the University of Technology in Australia, in an illuminating but densely theoretical study of sound in 20th-century literature and art. Kahn begins by considering the early experiments at the Cabaret Voltaire of dadaist poets Richard Huelsenbaeck, Marcel Janco and Tristan Tzara, whose poetic and "musical" performances were intended to achieve a Rimbaudian "alchemy of the word." He then analyzes how noiseAin the form of screams and bomb blastsAfunction in such prose texts as Remarque's All Quiet on the Western Front. But the artistic hero of the book is John Cage, whose monumental works with water provide the theme for the central portion of the book. Kahn devotes considerable energy to arguing that Cage's Water Music of 1952 was at least as revolutionary as his silent pieces. "Pollock's dripped and poured paintings and Cage's water sounds," he writes, "heralded a larger concurrence of fluidity, water, sound and performance" in the arts for years to come. This leads to a discussion of postmodern American composers, including LeMonte Young and Tony Conrad, who chose extreme amplifications of noise to bring the auditors back to "silence" once their ears stopped ringing. As for the "meat" part of the title, it comes from another source of theoretical inspiration to Kahn, William Burroughs's idea of "schlupping," defined as the sound of "soft innards being sucked out of a body," which is how the reader may feel attempting to get through this incisive but difficult book. (Oct.)
Copyright 1999 Reed Business Information, Inc.
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Descripción The MIT Press, 1999. Hardcover. Estado de conservación: New. Nº de ref. de la librería P110262112434
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Descripción The MIT Press, 1999. Hardcover. Estado de conservación: New. Nº de ref. de la librería DADAX0262112434