In the Blink of an Ear: Toward a Non-Cochlear Sonic Art

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9780826429711: In the Blink of an Ear: Toward a Non-Cochlear Sonic Art

An ear-opening reassessment of sonic art from World War II to the present

Marcel Duchamp famously championed a "non-retinal" visual art, rejecting judgments of taste and beauty. In the Blink of an Ear is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamp's conceptualism. Rather than treat sound art as an artistic practice unto itself-or as the unwanted child of music-artist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed - or, in many cases, completely rejected - the de-formalization of the artwork and its simultaneous animation in the conceptual realm.
Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenberg's media-specificity with a phenomenological emphasis on perception. Subsequently, the "sound-in-itself" tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean François Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sound's expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological.

Artists discussed include:

George Brecht
John Cage
Janet Cardiff
Marcel Duchamp
Bob Dylan
Valie Export
Luc Ferrari
Jarrod Fowler
Jacob Kirkegaard
Alvin Lucier
Robert Morris
Muddy Waters
John Oswald
Marina Rosenfeld
Pierre Schaeffer
Stephen Vitiello
La Monte Young

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About the Author:

Seth Kim-Cohen is Lecturer at the Yale University School of Art and Department of the History of Art and is also a practicing artist, often working with sound or with the idea of sound.

Review:

Seth Kim-Cohen has drawn a line in the sand of the Chladni plate of sound art. As a listener, he is impatient with the simple ding in the thing-in-itself: it sounds too much like the metaphysical front end of a church bell. To improve listening Kim-Cohen pits Duchamp's non-retinal art against Cage's sound-in-itself and argues for an non-cochlear art where sounds are allowed to keep resonating past the inner ear all the way to the brain and back. He speaks eloquently for all who like to think and listen at the same time and for all interested in a new round of debates, now that art is more than the visual arts. --Douglas Kahn, author of Noise, Water, Meat: A History of Sound in the Arts

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Book Description Bloomsbury Publishing PLC, United Kingdom, 2009. Paperback. Book Condition: New. Language: English . Brand New Book ***** Print on Demand *****. Eyes in Ears: Art in Music / Music in Art since 1948 traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle. What do Pierre Schaeffer s initial experiments in musique concrete, John Cage s first proposal for a silent piece ( Silent Prayer ), and what many music historians consider to be the first rock and roll song: the Orioles It s Too Soon to Know all have in common? A year of pivotal importance - 1948. Eyes in Ears: Art in Music / Music in Art since 1948 traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle. Surprisingly, there is no extant book which covers the confluence of the art and music world. Eyes in Ears will both document the ways in which music and the gallery arts have infiltrated each others domains and will theorize the implications of these incursions. Finally, based on the interactions of art and music over the past sixty years, the book will provide an account of the birth of sound art as a distinct practice. Bookseller Inventory # AAV9780826429711

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Book Description Bloomsbury Publishing PLC, United Kingdom, 2009. Paperback. Book Condition: New. Language: English . Brand New Book ***** Print on Demand *****. Eyes in Ears: Art in Music / Music in Art since 1948 traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle. What do Pierre Schaeffer s initial experiments in musique concrete, John Cage s first proposal for a silent piece ( Silent Prayer ), and what many music historians consider to be the first rock and roll song: the Orioles It s Too Soon to Know all have in common? A year of pivotal importance - 1948. Eyes in Ears: Art in Music / Music in Art since 1948 traces the interactions and mutual influences of art and music over the past sixty years. It presents a narrative of late-Modern/Postmodern artistic practice, connecting familiar events, figures and works to less-familiar precedents and antecedents from within their own fields and from across the aisle. Surprisingly, there is no extant book which covers the confluence of the art and music world. Eyes in Ears will both document the ways in which music and the gallery arts have infiltrated each others domains and will theorize the implications of these incursions. Finally, based on the interactions of art and music over the past sixty years, the book will provide an account of the birth of sound art as a distinct practice. Bookseller Inventory # AAV9780826429711

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Book Description Bloomsbury Academic. Paperback. Book Condition: New. 296 pages. Dimensions: 9.8in. x 6.5in. x 1.0in.and lt;div and gt; and lt;strong and gt;An ear-opening reassessment of sonic art from World War II to the present and lt;strong and gt; and lt;br and gt; and lt;br and gt;Marcel Duchamp famously championed a and quot;non-retinal and quot; visual art, rejecting judgments of taste and beauty. and lt;em and gt;In the Blink of an Ear and lt;em and gt; is the first book to ask why the sonic arts did not experience a parallel turn toward a non-cochlear sonic art, imagined as both a response and a complement to Duchamps conceptualism. Rather than treat sound art as an artistic practice unto itselfor as the unwanted child of musicartist and theorist Seth Kim-Cohen relates the post-War sonic arts to contemporaneous movements in the gallery arts. Applying key ideas from poststructuralism, deconstruction, and art history, In the Blink of an Ear suggests that the sonic arts have been subject to the same cultural pressures that have shaped minimalism, conceptualism, appropriation, and relational aesthetics. Sonic practice and theory have downplayed - or, in many cases, completely rejected - the de-formalization of the artwork and its simultaneous animation in the conceptual realm. and lt;br and gt;Starting in 1948, the simultaneous examples of John Cage and Pierre Schaeffer initiated a sonic theory-in-practice, fusing clement Greenbergs media-specificity with a phenomenological emphasis on perception. Subsequently, the and quot;sound-in-itself and quot; tendency has become the dominant paradigm for the production and reception of sound art. Engaged with critical texts by Jacques Derrida, Rosalind Krauss, Friedrich Kittler, Jean Franois Lyotard, and Jacques Attali, among others, Seth Kim-Cohen convincingly argues for a reassessment of the short history of sound art, rejecting sound-in-itself in favor of a reading of sounds expanded situation and its uncontainable textuality. At the same time, this important book establishes the principles for a nascent non-cochlear sonic practice, embracing the inevitable interaction of sound with the social, the linguistic, the philosophical, the political, and the technological. and lt;br and gt; and lt;br and gt;Artists discussed include: and lt;div and gt; and lt;br and gt; and lt;div and gt; and lt;br and gt;George Brecht and lt;br and gt;John Cage and lt;br and gt;Janet Cardiff and lt;br and gt;Marcel Duchamp and lt;br and gt;Bob Dylan and lt;br and gt;Valie Export and lt;br and gt;Luc Ferrari and lt;br and gt;Jarrod Fowler and lt;br and gt;Jacob Kirkegaard and lt;br and gt;Alvin Lucier and lt;br and gt;Robert Morris and lt;br and gt;Muddy Waters and lt;br and gt;John Oswald and lt;br and gt;Marina Rosenfeld and lt;br and gt;Pierre Schaeffer and lt;br and gt;Stephen Vitiello and lt;br and gt;La Monte Young and lt;br and gt; and lt;div and gt; and gt; This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Paperback. Bookseller Inventory # 9780826429711

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Book Description Bloomsbury Publishing PLC, 2009. PAP. Book Condition: New. New Book. Delivered from our UK warehouse in 4 to 14 business days. THIS BOOK IS PRINTED ON DEMAND. Established seller since 2000. Bookseller Inventory # IQ-9780826429711

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