2012. Beyond Sound Art – The Avant Garde, Sound Machines, and the Modernity of Hearing

2012 Beyond Sound Art – The Avant Garde, Sound Machines, and the Modernity of Hearing
Artist Publishing Co,352p,520000 words,classic chinese

Index
1.Sounds of Avant-Garde

1.Futurism
1.1.1.Machine Aesthetics
1.1.2.Futurism Politics
1.1.3.Free-Word Poetry
1.1.4.Success from Scandal
1.1.5.Motor-Noise Plastic Complexes
1.1.6.The Art of Noise
1.1.7.La Radia: Futurist Radio Manifest

2.The Russian Avant-Garde
1.2.1.The October Revolution and Russian Mysticism
1.2.2.Industrial Sounds

3.Dada
1.3.1.Dada Ethics
1.3.2.Noises from the Cabaret Voltaire
1.3.3.Primitivism
1.3.4.Kurt Schwitters
1.3.5.Marcel Duchamp
1.3.6.Phonetic Poetry
1.3.7.Dada and Futurism

4.Surrealism
1.4.1.No Music

5.Pierre Schaeffer,Pierre Henri
1.5.1.The Creation of Musique Concrète
1.5.2.Machines of the Musique Concrète
1.5.3.Pierre Henri

6.Karlheinz Stockhausen
1.6.1.WNDR
1.6.2.Karlheinz Stockhausen
1.6.3.The Controversial Figure

7.Iannis Xenakis
1.7.1.The Life of A Composer
1.7.2.From Architecture to Music
1.7.3.Unifying the Micro and Macro Structures
1.7.4.Multi-Media Performance

8.Sound Poetry
1.8.1.The Liberated Text / The Liberation of Sound
1.8.2.Electronic Sound Poetry
1.8.3.Antonin Artaud
1.8.4.William Burroughs
1.8.5.Sound Poetry Variations

9.Musique Brute
1.9.1.Music Brute
1.9.2.Recording Technology

10.Fluxux and Its Contemporaneousness
1.10.1.Fluxux Noise
1.10.2.Rites of Passage
1.10.3.John Cage
1.10.4.Joseph Beuys
1.10.5.Yves Klein
1.10.6.La Monte Young
1.10.7.Nan Jun Paik
1.10.8.Yasunao Tone
1.10.9.Wolf Vostell
1.10.10.Christian Marclay

11.Punk Movement
1.11.1.Art Rocks?
1.11.2.Malcolm McLaren
1.11.3.DIY Culture

12.Industrial Music
1.12.1.The Media Spectacles
1.12.2.Independent Organizations
1.12.3.Media Terrorism
1.12.4.Throbbing Gristles
1.12.5.Negative Land
1.12.6.Laibach

13.Japanese Noise
1.13.1.Japanese Noise

14.Techno Music
1.14.1.Body Music
1.14.2.Mix Culture
1.14.3.Copyrights
1.14.4.The Death of the Author
1.14.5.Kraftwerk
1.14.6.Aphex Twin
1.14.7.Jeremy Deller

15.Electronic Deconstructivism Music
1.15.1.Deconstructive Music?
1.15.2.Aesthetics of Failure
1.15.3.OVAL
1.15.4.Raster-Noton. Archiv für Ton und Nichtton

16.Sound Installation
1.16.1.Sound Installation
1.16.2.Energy Transformation
1.16.3.Body Space
1.16.4.Sound Sculpture
1.16.5.Radio Space
1.16.6.Video Sounds
1.16.7.Documentation as a form

17.Soundscape
1.17.1.Soundscape

2.Hearing Cultures and Modernity

1.Subject of Visual Culture
2.1.1.Subject of Visual Culture
2.1.2.Vision Machines
2.1.3.Pure Vision
2.1.4.Art Establishment

2.Subject of Hearing Culture
2.2.1.Subject of Hearing Culture
2.2.2.Audio Machines
2.2.3.Pure Listening
2.2.4.Music Establishment
2.2.5.Classical Music
2.2.6.Ethnic Music
2.2.7.Serial Music
2.2.8.Musique Concrète
2.2.9.Electronic Music
2.2.10.The Predicaments of Contemporary Music Development

3.Sounds of Avant-Garde and Hearing Expansion
2.3.1.Avant-Garde Noise as an Agent of Deconstruction
2.3.2.The Taming of the Avant-Garde
2.3.3.Hearing Expansion

3. Sound Machine

1.Sound Machine

3.1.1.Sound Machine
3.1.2.Body Machine
3.1.3.Social Machine
3.1.4.Anti-Media Art

2.General Machine

3.2.1.Primitive Ear
3.2.2.Spatial Cognition
3.2.3.Psychophysiology
3.2.4.Subjective Hearing
3.2.5.Unconventional Hearing
3.2.6.Speaking Machine
3.2.7.Writing Machine

3.Transmission Machine

3.3.1.The Transmission of Art
3.3.2.Air Transmission
3.3.3.Sound and Architecture
3.3.4.Projection Space
3.3.5.Telegram
3.3.6.Telephone
3.3.7.Radio
3.3.8.Radio Art
3.3.9.MIDI
3.3.10.‬‬Electronic Voice Phenomenon

4.Recording Machine

3.4.1.Recording Arts
3.4.2.Sheet Music Machines
3.4.3.Automatic Instruments
3.4.4.Phonograph
3.4.5.Magnetic Recording
3.4.6.Optical Recording
3.4.7.Recording and Authenticity

5.Synthesis Machines

3.5.1.The History before the Innovation of Sound Synthesis
3.5.2.Theremin
3.5.3.Onde Martenot
3.5.4.Optical Synthesis
3.5.5.Synthesizer

4.Sound Art and Beyond

4.1.1.Whose Contemporary Art Is It?
4.1.2.Technology Art
4.1.3.Media Art
4.1.4.Interdisciplinary Art
4.1.5.Tracing the Source of Sounds