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“超越聲音藝術“新書發表會((Beyond Sound Art – The Avant Garde, Sound Machines,and the Modernity of Hearing))Book launch party

林其蔚<超越聲音藝術-前衛主義、聲音機器、聽覺現代性 >
Beyond Sound Art – The Avant Garde, Sound Machines,and the Modernity of Hearing
Book launch party+NOISE MOBILIZAION Opening Performance by DINO

地點: DAC台北數位藝術中心/噪咖大廳
時間: 9/7 (五)
15:00 現場表演 (( 噪音召集)) DINO 特別演出
15:30 新書發表會

表演者: DINO (噪音藝術家)
主持人: 呂岱如( 獨立策展人)
發表人: 林其蔚(文化工作者)

出版社: 藝術家出版社
繁體中文/全彩平裝
開數:17×24cm 頁數:352 頁
定價: NT$ 450 元
ISBN:978-986-282-077-3
出版日期:2012/9

Finally ,after 9 years of work ,my book “Beyond Sound Art – The Avant
Garde, Sound Machines, and the Modernity of Hearing” is about to release in 10th,september

Release by Artist Publishing Co. Sep
350p,550000words,classic chinese version
http://www.books.com.tw/exep/prod/booksfile.php?item=0010556443

本書簡介:

感官特化分工是現代主體建構的知覺基礎,其中尤以視覺為其核心,無論文學史、藝術史,乃至音樂史的建構,皆由視覺文本出發。在現代文化架構中,西方帝國與其殖民地的關係,可以由視覺主體的建構過程來理解。殖民地文化成了西方主體以視覺機器量測的對象物,西方在窺看的過程中讓自己成為主體,讓被窺看者的文化成為「落後」的參照體,並且依此模型來構造世界。緣此,「聲音」或可另闢蹊徑,提供解構視覺中心主義的思想資源。

本書由前衛藝術、現代音樂一直介紹到戰後的龐克搖滾與科技舞曲,並非為了構建一套「聽覺藝術史」以對抗視覺藝術史,而是反過來以聲音為方法,以聲音作為穿透視覺主體現代分工體系的象徵,質疑人文與科技的二分,文學、音樂、美術、劇場、建築專業的特化,反思「新媒體」、「跨領域」等等時興的學科統合計劃,而其方法在於擴張僵化的聽覺認知模式,還原聲音生產過程中的身體性、社會性與機械性,由聲音來追溯音樂、圖象、符號不可分割的源頭。
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Without a representative style, ‘big name’ artist, or clearly discernable movement, the variety of practices that the term “Sound Art” attempts to describe have consistently resisted simple representation. Isolated artists working in a range of disciplines produce art sounds entirely unique to their context, making it nearly impossible to join them into a single historical narrative. In spite of this difficulty, “Sound Art” remains a very popular term.

After 40 years of attempting to refine its definition, it may finally be time to ask some more fundamental questions: Is the term ‘sound art’ really useful? What has driven art institutions to chase after sound in search of a new genre? There may be a simple answer: as the field of sound art grows, so does the number of research and teaching positions along with opportunities for public and private funding. More significantly, though, relentlessly pursuing ‘the new’ is part of their self-legitimation as public bodies, and their attempts to categorize new practices and divide disciplines are functions of the large scale cultural regulation system to which they belong. It is only normal that this organizing engine should constantly require more and more fuel. Sound appears to these institutions as the image of an unexploited promised land.

Here we attempt to provide a way of hearing the world outside of modernism’s field of vision. The author develops André Leroi-Gourhan’s idea of “General Technology” which renounces the separation of technology, craftsmanship and art, and integrates the “Philosophical Anthropology” of Shi-Zuo-Cheng into the discourse. Shi considers sound expression to be the basis of written and symbolic expression: as the pure sign systems of mathematics, physics and logic have ruled our system of writing, so has culture been alienated from its foundation in nature. His strategy against this alienation is to trace the natural origin of word expressions in order to recover their vivid transformations and contribute to the restoration of culture’s ritual and religiosity.

This book presents a history of human civilization as the history of its sound material as realized in five main expressions:

1. Primitive Sounds (the corporeal sound expressions, like shouting, crying, laughter)

2. Sound Signs (spoken language)

3. Visual Signs (totem, figure, word, diagram)

4. Mechanized Signs (machine language, abacus, musical notation, music box, Jacquard loom, print)

5. Electronic Signals (telegram, telephone, radio, tape recorder, synthesizer)

The author considers the human body, and our tools and culture in the broadest sense possible, undivided from nature at large: a total “Sound Machine” with all the interconnected flows, production and articulations that would imply. Rather than proposing a new definition of “Sound Art” that finally realizes the modernist urge to collect, categorize and exploit, the book proposes a new construction of nature and human culture that has always included sound as a productive element.(Translated by Alex geddie)

目錄(Table of Content)

本書使用方法 – 感謝名單 (Acknowledgements)
本書特有名詞解釋 (Glossary of Technical Terms)
簡介 (Introduction)
前言 (Foreword)
楔子 (Prelude: Sound Art as a Paradoxical Genre)
1. 前衛之聲 (Sounds of Avant Garde)
1.未來主義(Futurism)
1.1.1.機器美學(Machine Aesthetics)
1.1.2.未來政治(Futurism Politics)
1.1.3.自由語言(Free-Word Poetry)
1.1.4.醜聞劇場(Success from Scandal)
1.1.5.噪音裝置(Motor-Noise Plastic Complexes)
1.1.6.噪音藝術(The Art of Noise)
1.1.7.未來廣播(La Radia: Futurist Radio Manifesto)
2.俄國前衛主義(The Russian Avant-Garde)
1.2.1.革命風潮與神秘主義(The October Revolution and Mysticism)
1.2.2.工業之聲(Industrial Sounds)
3.達達主義(Dada)
1.3.1.達達倫理學(Dada Ethics)
1.3.2.伏爾泰噪音(Noises from the Cabaret Voltaire)
1.3.3.原始主義(Primitivism)
1.3.4.史維特斯(Kurt Schwitters)
1.3.5.杜象(Marcel Duchamp)
1.3.6.音節詩(Phonetic Poetry)
1.3.7.達達與未來派(Dada and Futurism)
4.超現實主義(Surrealism)
1.4.1.非樂(No Music)
5.皮耶.夏飛、皮耶.亨利 (Pierre Schaeffer and Pierre Henry)
1.5.1.具象音樂的誕生(The Creation of Musique Concrète)
1.5.2.具象樂器(Machines of Musique Concrète)
1.5.3.皮耶.亨利(Pierre Henry)
6.許鐸克豪森(Karlheinz Stockhausen)
1.6.1.西北德廣播電台(WNDR)
1.6.2.許鐸克豪森(Karlheinz Stockhausen)
1.6.3.爭議人物 (The Controversial Figure)
7.謝納奇斯(Iannis Xenakis)
1.7.1.謝納奇斯傳奇(The Life of A Composer)
1.7.2.由建築到音樂(From Architecture to Music)
1.7.3. 微觀/巨觀的統一(Unifying the Micro and Macro Structures)
1.7.4.多媒體創作(Multi-Media Performance)
8.聲音詩(Sound Poetry)
1.8.1.文字解放/聲音解放(The Liberated Text / The Liberation of Sound)
1.8.2.電子聲音詩(Electronic Sound Poetry)
1.8.3.翁托南.阿鐸(Antonin Artaud)
1.8.4.威廉.伯洛斯(William Burroughs)
1.8.5.聲音詩的轉型(Sound Poetry Variations)
9.原生音樂 (Musique Brute)
1.9.1.原生音樂(Music Brute)
1.9.2.錄音科技(Recording Technology)
10.激浪前後(Fluxus and It’s Contemporaneousness)
1.10.1激浪噪音(Fluxux Noise)
1.10.2.通過儀式(Rites of Passage)
1.10.3.凱基(John Cage)
1.10.4.波依斯(Joseph Beuys) 1.10.5.克萊茵(Yves Klein)
1.10.6.拉蒙揚(La Monte Young)
1.10.7.白南準( Nam June Paik)
1.10.8.刀根康尚(Yasunao Tone)
1.10.9.佛斯帖爾(Wolf Vostell)
1.10.10.馬克雷(Christian Marclay)
11.龐克運動(Punk Movement)
1.11.1.藝術搖滾(Art Rocks?)
1.11.2.馬爾空.麥克萊倫(Malcolm McLaren)
1.11.3.自己做文化(DIY Culture)
12.工業音樂(Industrial Music)
1.12.1.景觀媒體(The Media Spectacles)
1.12.2.獨立組織 (Independent Organizations)
1.12.3.恐怖主義 (Media Terrorism)
1.12.4. 悸動軟骨(Throbbing Gristle)
1.12.5. 負面之國(Negative Land)
1.12.6. 萊巴哈(Laibach)
13.日本噪音(Japanese Noise)
1.13.1.日本噪音 (Japanese Noise)
14.科技電音(Techno Music)
1.14.1.身體音樂(Body Music)
1.14.2.混音文化(Mix Music Culture)
1.14.3.著作權(Copyrights)
1.14.4.去作者(The Death of the Author)
1.14.5.發電廠樂團(Kraftwerk)
1.14.6.艾菲克斯雙生子(Aphex Twin)
1.14.7.傑勒米.戴樂(Jeremy Deller)
15.解構電音(Electronic Deconstructive Music)
1.15.1.解構電音(Electronic Deconstructive Music)
1.15.2.錯誤美學(Aesthetics of Failure)
1.15.3.OVAL(OVAL)
1.15.4.拉斯特–諾頓,聲音與非聲音檔案(Raster-Noton. Archiv für Ton und Nichtton)
16.聲音裝置(Sound Installation)
1.16.1.聲音裝置?(Sound Installation)
1.16.2.能量轉換(Energy Transformation)
1.16.3.身體空間(Body Space)
1.16.4.聲音雕塑(Sound Sculpture)
1.16.5.廣播空間(Radio Space)
1.16.6.錄影之聲(Video Sounds)
1.16.7.文件展覽(Documentation as Form)
17.音景(Soundscape)
1.17.1.音景 (Soundscape)
2.聽覺現代性(The Modernity of Hearing)
1.視覺主體(Visual Subject)
2.1.1視覺主體(Visual Subjectivity)
2.1.2.視覺機器(Vision Machines)
2.1.3.純粹視覺(Pure Vision)
2.1.4.藝術建制(Art Establishment)
2.聽覺主體(Aural Subject)
2.2.1.聽覺主體(Hearing Subjectivity)
2.2.2.聽覺機器(Audio Machines)
2.2.3.純粹聽覺(Pure Listening)
2.2.4.音樂建制(Music Establishment)
2.2.5.古典音樂(Classical Music)
2.2.6.民族音樂(Ethnic Music)
2.2.7.序列音樂(Serial Music)
2.2.8.具象音樂(Musique Concrète)
2.2.9.電子音樂(Electronic Music)
2.2.10.現代音樂主體困境(The Predicaments of Contemporary Music Development)
3.前衛之聲與擴張聽覺(Sounds of Avant Garde and Listening Expansion)
2.3.1.前衛噪音解主體(Avant Garde Noise as an Agent of Deconstruction)
2.3.2.前衛的馴化(The Taming of the Avant-Garde)
2.3.3.擴張聽覺(Listening Expansion)

3. 聲音機器(Sound Machine)
1. 聲音機器(Sound Machine)
3.1.1.聲音機器(Sound Machine)
3.1.2.身體機器(Body Machine)
3.1.3.社會機器(Social Machine)
3.1.4.反媒體藝術(Anti-Media Art)
2.通用機器(General Machine)
3.2.1.耳朵原始(Primitive Ear)
3.2.2.空間認知(Spatial Cognition)
3.2.3.心理物理(Psychophysiology)
3.2.4.主觀聽覺(Subjective Hearing)
3.2.5. 非典聽覺(Unconventional Hearing)
3.2.6. 說話機器(Speaking Machine)
3.2.7. 文字機器(Writing Machine)
3.傳輸機器(Transmission Machine)
3.3.1.傳輸藝術(The Transmission of Art)
3.3.2.空氣傳輸(Air Transmission)
3.3.3.聲音與建築(Sound and Architecture)
3.3.4.投音空間(Projection Space)
3.3.5.電報(Telegram)
3.3.6.電話(Telephone)
3.3.7.廣播-無線電(Radio)
3.3.8.廣播藝術(Radio Art)
3.3.9.數位音樂界面(MIDI)
3.3.10.電聲現像(Electronic Voice Phenomena)
4.紀錄機器(Recording Machine)
3.4.1.錄音藝術(Recording Arts)
3.4.2.樂譜機器(Sheet Music Machines)
3.4.3. 自動樂器(Automatic Instruments)
3.4.4. 留聲機(Phonograph)
3.4.5. 磁帶錄音(Magnetic Recording)
3.4.6. 光學錄音(Optical Recording)
3.4.7. 錄音與原真性(Recording and Authenticity)
5.合成機器(Synthesis Machines)
3.5.1. 合成前史(The History before the Innovation of Sound Synthesis)
3.5.2. 謝樂鳴(Theremin)
3.5.3. 瑪特諾之波(Onde Martenot)
3.5.4. 光學合成(Optical Synthesis)
3.5.5. 合成器(Synthesizer)
4.超越聲音藝術(Beyond Sound Art)
4.1.1.誰的現代藝術? 誰的聲音藝術? (Whose Contemporary Art Is It? Whose Sound Art Is It?))
4.1.2.科技藝術?(Technology Art?)
4.1.3.媒體藝術?(Media Art?)
4.1.4.跨領域藝術?(Interdisciplinary Art?)
4.1.5.聲音溯源(Tracing the Source of Sounds)
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