{"product_id":"the-bloomsbury-handbook-of-sound-art-9781501393112","title":"The Bloomsbury Handbook of Sound Art","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSanne Krogh Groth\u003c\/b\u003e is Associate Professor of Musicology at Lund University, Sweden. She is Office Director of the Sound Environment Centre, Lund University, and Co-Editor-in-Chief of the online journal \u003ci\u003eSeismograf\u003c\/i\u003e. She is author of the book \u003ci\u003ePolitics and Aesthetics in Electronic Music\u003c\/i\u003e (2014) and is currently conducting field-based research on experimental music and de-colonial aesthetics in Indonesia.  \u003cb\u003eHolger Schulze \u003c\/b\u003eis Professor of Musicology at the University of Copenhagen, Denmark, and Principal Investigator at the Sound Studies Lab. He is the author of numerous books including \u003ci\u003eSound as Popular Culture \u003c\/i\u003e(2016), \u003ci\u003eThe Sonic Persona \u003c\/i\u003e(Bloomsbury, 2018), and \u003ci\u003eSound Works\u003c\/i\u003e (Bloomsbury, 2019).\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e[This book] deserves a wide and engaged readership, for this is an important collection of curated essays that drives the debates around sound art into new territories. Its focus on sound as an operative force that might hold power to account makes it that rare thing, a most timely textbook. * The Wire *\u003cbr\u003eSanne Krogh Groth and Holger Schulze have edited a volume of almost 600 pages that consists of very interesting texts that explain how social perspectives and art historical theory can fruitfully be applied to sound art and yield insights not easily developed through the traditional focus on sound and space. The book makes a very good case for why it is necessary to expand the reading and understanding of sound art’s many sub-genres in order to grasp the contemporary developments, in particular socially engaged works with political intentionality. * Jøran Rudi in Organised Sound, December 2020 *\u003cbr\u003eAn innovative, comprehensive and timely volume that I cannot recommend enough. * SoundEffects *\u003cbr\u003eA welcome and important book that greatly enriches the scope of the sound art domain and should be of considerable interest to both theorists and practitioners. * Journal of Sonic Studies *\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eSound Art. The First 100 Years of an Aggressively Expanding Art Form \u003ci\u003e(Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark)\u003c\/i\u003e \u003cb\u003ePart I\u003c\/b\u003e After the Apocalypse. The Desert of the Real as Sound Art 1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse \u003ci\u003e(Anette Vandsø, Aarhus University, Denmark)\u003c\/i\u003e 2. Composing Sociality. Toward an Aesthetics of Transition Design \u003ci\u003e(Jeremy Woodruff, Istanbul Technical University, Turkey)\u003c\/i\u003e 3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art \u003ci\u003e(Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany)\u003c\/i\u003e 4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything \u003ci\u003e(Stina Marie Hasse Jørgensen, University of Copenhagen, Denmark)\u003c\/i\u003e \u003cb\u003ePart II\u003c\/b\u003e Journeys Across the Grid. Postcolonial Transformations as Sound Art 5. “\u003ci\u003eDiam!\u003c\/i\u003e” (Be Quiet!). Noisy Sound Art from the Global South \u003ci\u003e(Sanne Krogh Groth, Lund University, Sweden)\u003c\/i\u003e 6. Curating Potential. Migration and Sonic Artistic Practices in Berlin (\u003ci\u003eJuliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universität Berlin, Germany)\u003c\/i\u003e 7. Four Artistic Journeys i. Pockets of Communities \u003ci\u003e(Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia’s Institute for Ideas and Imagination, France)\u003c\/i\u003e ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene \u003ci\u003e(Søren Møller Sørensen, University of Copenhagen, Denmark)\u003c\/i\u003e iii. When I Close My Eyes Everything Is So Damn Pretty (Can’t Do the Thing You Want, Can’t Do the Thing You Want, Can’t Do the Thing You Want) \u003ci\u003e(Samson Young, Composer and Artist, Hong Kong)\u003c\/i\u003e iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives \u003ci\u003e(Bob Edrian, Institut Teknologi Bandung, Indonesia)\u003c\/i\u003e 8. Sound Art in East and Southeast Asia. Historical and Political Considerations \u003ci\u003e(Cedrik Fermont, \u003c\/i\u003e\u003ci\u003eMusician and Independent Scholar, Berlin, Germany\u003c\/i\u003e\u003ci\u003e, and Dimitri della Faille, University of Quebec, Canada)\u003c\/i\u003e \u003cb\u003ePart III\u003c\/b\u003e Come Closer ... Intimate Encounters as Sound Art 9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities \u003ci\u003e(Brandon LaBelle, University of Bergen, Norway)\u003c\/i\u003e 10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks \u003ci\u003e(Cathy Lane, University of the Arts, London, UK)\u003c\/i\u003e 11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art \u003ci\u003e(Sabine Feisst and Garth Paine, Arizona State University, USA)\u003c\/i\u003e 12. Intruders Touching You. Intimate Encounters in Audio \u003ci\u003e(Holger Schulze, University of Copenhagen, Denmark)\u003c\/i\u003e \u003cb\u003ePart IV\u003c\/b\u003e De-Institutionalize! Institutional Critique as Sound Art 13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal \u003ci\u003e(Sharon Stewart, Utrecht University, the Netherlands)\u003c\/i\u003e 14. Outside and Around Institutions. Two Artistic Positions i. Working in the Sounding Field \u003ci\u003e(Annea Lockwood, Vassar College, USA)\u003c\/i\u003e ii. Conversations and Utopias \u003ci\u003e(Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA)\u003c\/i\u003e 15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks \u003ci\u003e(Laura Zattra, Francesco Venezze Conservatory of Music, Italy)\u003c\/i\u003e 16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions \u003ci\u003e(Elen Flügge, Queen’s University Belfast, Northern Ireland)\u003c\/i\u003e \u003cb\u003ePart V\u003c\/b\u003e The Sonic Imagination. Sonic Thinking as Sound Art 17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound \u003ci\u003e(Macon Holt, Goldsmiths, University of London, UK)\u003c\/i\u003e 18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound \u003ci\u003e(Sandra Kazlauskaite, Goldsmiths, University of London, UK)\u003c\/i\u003e 19. \"Specific Dissonances.\" A Geopolitics of Frequency \u003ci\u003e(A\u003c\/i\u003e\u003ci\u003elastair Cameron, Independent Scholar, UK, and \u003c\/i\u003e\u003ci\u003eEleni Ikoniadou, Royal College of Art, UK)\u003c\/i\u003e 20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art \u003ci\u003e(Tobias Ewé, University of British Columbia, Canada)\u003c\/i\u003e \u003cb\u003ePart VI\u003c\/b\u003e Making Sound. Building Media Instruments as Sound Art 21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art \u003ci\u003e(Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark)\u003c\/i\u003e 22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument \u003ci\u003e(Chris Salter and Alexandre Saunier, Concordia University, Canada)\u003c\/i\u003e 23. The Instrument as Medium. Phonographic Work \u003ci\u003e(Rolf Großmann, Leuphana University of Lünenberg, Germany)\u003c\/i\u003e 24. How to Build an Instrument? Three Artistic Positions--Articles and Interviews  i. Membrane. Materialities and Intensities of Sound \u003ci\u003e(\u003c\/i\u003e\u003ci\u003eCarla J. Maier, Humboldt University of Berlin, Germany, \u003c\/i\u003e\u003ci\u003ein Conversation with \u003c\/i\u003e\u003ci\u003eMarianthi Papalexandri-Alexandri, Cornell University, USA)\u003c\/i\u003e ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification \u003ci\u003e(Yuri Landman, Academy for Pop Culture, the Netherlands)\u003c\/i\u003e iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again \u003ci\u003e(Morten Riis, \u003c\/i\u003e\u003ci\u003eThe Royal Academy of Music, Aarhus, \u003c\/i\u003e\u003ci\u003eDenmark)\u003c\/i\u003e \u003ci\u003eNotes\u003c\/i\u003e \u003ci\u003eReferences\u003c\/i\u003e \u003ci\u003eContributors\u003c\/i\u003e \u003ci\u003eIndex\u003c\/i\u003e","brand":"Bloomsbury Publishing (UK)","offers":[{"title":"Default Title","offer_id":53187877339479,"sku":"9781501393112","price":39.89,"currency_code":"GBP","in_stock":true}],"url":"https:\/\/bookcurl.com\/products\/the-bloomsbury-handbook-of-sound-art-9781501393112","provider":"Book Curl","version":"1.0","type":"link"}