What is the usefulness of studying media through a singular artist, and what about this approach can be problematic?
What role does authorship play in sound-art in relation other media?
What are the compositional relationships between musique concrete, and the work of Jon Cage?
If technology wasn't where it is today, would experimental music and sound art have this many people involved or would it be considered science?
What separates experimental music from sound art?
If visuals are stronger than the sound art piece itself, should it become a different named form of art then just using sound in a piece?
Always I am drawn to the the dynamic interplay between space and sound. From the reverberations of an auditorium to the clattering morning din of a crowded coffee shop-- "The sonorous world always presses in, adding extra ingredients by which we locate ourselves." The Geographer in me is interested in the site specific sounds. There is an element of history in the act the of recording sound.
I won't have a chance to read all of the section on Cages' work before class, but I am intrigued by what I have read so far. I think it is somewhat difficult to read about sound art without having heard the piece, so look forward to the opportunity to listen.
In preparation for class on Tuesday, refer to Kurtis's link to Background Noise: Perspectives on Sound Art. Read pages ix [in the introduction] through page 45. This is the complete section Part 1: 4'33" : Sound and Points of Origin.
In the reflections category, post 3 questions that will contribute to our discussion on Tuesday.
Author Brandon LaBelle is a sound artist as well. You can listen to some of his projects here.
