Towards a Philosophy of Sound Art
6-8pm, Tuesday, 22 June, 2010
Angus Carlyle and Salomé Voegelin debate the relationship between philosophy, sound and art.
Sonic Approaches to Place
6-8pm, Tuesday, 29 June, 2010
Jennie Savage, Peter Cusack and Salomé Voegelin discuss the spatio-temporal circumstance of sound and the sonic-subject.
Listening
6-8pm, Tuesday, 6 July, 2010
Brandon LaBelle, Francisco Lopez and Salomé Voegelin consider listening as an activity and as an interactivity that shapes the production and perception of the sound art work as well as the listening subject.
Venue: Podium Lecture Theatre, London College of Communication, Elephant & Castle, London, SE1 6SB
All welcome
CREATIVE RESEARCH INTO SOUND ARTS PRACTICE
Three conversations to celebrate the publication of “Listening to Noise and Silence: Towards a Philosophy of Sound Art” by Salomé Voegelin
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"Listening to Noise and Silence” engages with the emerging practice of sound art and the concurrent development of a discourse and theory of sound. In this original and challenging work, Salomé Voegelin immerses the reader in concepts of listening to sound artwork and the everyday acoustic environment, establishing an aesthetics and philosophy of sound and promoting the notion of a sonic sensibility.
A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow.
Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. Listening to Noise and Silence broadens the discussion surrounding sound art and opens up the field for others to follow.
Available now from Continuum Books
A multitude of sound works are discussed, by lesser known contemporary artists and composers (for example Curgenven, Gasson and Federer), historical figures in the field (Artaud, Feldman and Cage), and that of contemporary canonic artists such as Janet Cardiff, Bill Fontana, Bernard Parmegiani, and Merzbow.
Informed by the ideas of Adorno, Merleau-Ponty and others, the book aims to come to a critique of sound art from its soundings rather than in relation to abstracted themes and pre-existing categories. Listening to Noise and Silence broadens the discussion surrounding sound art and opens up the field for others to follow.
Available now from Continuum Books
