Sound Arts in the British
- Investigation
- Introduction
- “What I’m trying out at this stage of my life is new formats, or new settings maybe, or formats and settings that have been tried before but then been forgotten or pushed aside because established formats have such a powerful hold on our thinking.” (Toop, P582.,2014)
- Summary
Toop finds “sound art” problematic:
1. The economy of the art world.
(issues of value-eg.Bansky, Monet, exclusive, elitist, class, privilege, crime, capitalism, status, precarity, austerity)
2.The creation of an object (even if a text, concept, or installation)-“sound work was always about a process”
- Reflection and discussion
There are a few contradictions in Toop’s discourse- one the one hand he talks about process, an artistic process should be a natural instinct rather than job, by characterizing art as “work” he sets up Barries, and he is the complicit in the capitalist appropriation of “art”. Making art takes practice, it is a practice and a skill.
- Conclusion
The necessity of clarifying and delimiting this term sound art is important, but the effect on the practice can be very negative. For example, on a practical level, if somebody has defined what sound art is and then there is an opportunity to get the benefit of some kind of funding or residency and you fall outside that definition, you’re going to suffer, so I think it’s important to keep breaking it open all the time.
- Glossary
- Orthodox
- Hybrid
- Etymology
- Clout
- Aesthetics: individual taste-‘British society of aesthetics’
- References：（Harvard system）author surname, initial (year), Title, Publisher, City
- -Standing on the shoulders of giants
- “Discovering truth by building on previous discoveries”
Sound designer-Ryoki Ikeda: LUX new wave of contemporary art
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I like Jessica Ellis’ statement. The idea that Sound Arts ‘reaches out to the art world in a new and distinct way’ is quite exciting! It doesn’t taste like stale bread! When we don’t have strong etiquette and formalities in navigating the field we can explore and discover with innocence and freshness, making Sound Arts a powerful force. This too shall pass?
I agree that sound stirs biological roots. It makes me think about the emotional reaction to sounds. Is the reaction from our own personal history, or is there a longer ancestral history involved in our perception of sounds?
I wonder how we can explore the sources of the “thousand feelings in a thousand people’s ears” in a sound project, that listens and amplifies the interior back into the world. Maybe we can sing!