Notes on ping
Reflections on an isolated generic sound and how it operates on an affective spectrum from the banal to the horrifyingly significant.
Use " " to search for an exact phrase. Use AND, OR, and NOT (in caps) to refine your search.
Reflections on an isolated generic sound and how it operates on an affective spectrum from the banal to the horrifyingly significant.
The essay probes poetics and the politics of a life-affirming operation in which Ukrainians have been self-engaged to resist subjugation and assimilation under Russian colonialism.
Democratic conversation and collectively improvised music have such pronounced similarities that improvisations can be discussed in terms of their democratic potentiality.
This article researches the role of the Human body in the production of sound art in the exhibition space. It focuses on the spatial path between body and sound in the exhibition space of sound art.
The article analyses the genre of listening scores – texts written in a natural language that provide the readers with instructions to listen in a certain way or to a certain kind of sounds.
An analysis of a sensory concert and its challenge of the gendered stage.
Women composers and the inadequate representation in historical canons and museum exhibitions.
Inclusion and exclusion of gendered artefacts, bodies and things in the spaces of P3´s music production.
An investigation of pianists’ independence from the score by comparing their tempo through graphs.
Historically-informed recording research exploring the work of the amateur recording pioneer Julius Block.
If we sought to go beyond the media reveal, what new practices of knowledge should emerge?
How does a sonic artist come to terms with the global effects of the tools of her trade?
How John Cage deconstructed the governed gallery experience and formed a new field of research.
A curatorial reading of Bruce Nauman’s sound installation “Für Kinder” calling for a post-medium approach to sound art.
A methodology of working with embodied sound and movement as an approach to creating open score pieces.
The current practice of the new format of the audio paper as well as its brief history.
Questioning sound as an ‘exhibited’ artistic object from a conceptual leaning, the article address sound’s subjective inclination as an experience beyond the material object.
An investigation of the sonic and durational experiences that formed the encounter with three artworks at the museum Dia:Beacon.
This paper seeks to explore digital media polemics in relation to the use of sound in ‘algorithmic culture’ discussing two artistic works by the author himself.
Considering the relationship between interpersonal understanding and propagandist rhetoric, the article speculates on the ethical implications of such a relationship.
This article argues that as historic avant-gardes made visible the destruction of art, so modified records attempt to make audible the destruction of sound.
The article suggests a “diagrammatic” reading of the notion of the acousmatic, where an experiential tension unfolds based on what can and cannot be seen, in relation to what is heard.
Holger Schulze’s keynote presentation asking for individual idiosyncrasies as parts of research methodologies.
A germinal manifesto for the audio paper.
This article argues, that the open artwork no longer functions as a mere provocation. Instead it has become a naturalized form of art.