This is a book about video art, and about sound art.
The thesis is that sound first entered the gallery via the video art of the 1960s and in so doing, created an unexpected noise. The early part of the book looks at this formative period and the key figures within it - then jumps to the mid-1990s, when video art has become such a major part of contemporary art production, it no longer seems an autonomous form.
Paul Hegarty considers the work of a range of artists (including Steve McQueen, Christian Marclay, Ryan Trecartin, and Jane and Louise Wilson), proposing different theories according to the particular strategy of the artist under discussion. Connecting them all are the twinned ideas of intermedia and synaesthesia. Hegarty offers close readings of video works, as influenced by their sound, while also considering the institutional and material contexts. Applying contemporary sound theory to the world of video art, Paul Hegarty offers an entirely fresh perspective on the interactions between sound, sound art, and the visual.
Acknowledgements
List of Illustrations
Introduction: How Video Works and How It Sounds
1 Expanding Cinema
2 Bruce Nauman and the Audiospatial
3 Body as Screen
4 Gary Hill, Seeing Language
5 Bill Viola, Elemental Ambience
6 Dan Graham, Stan Douglas, Laurie Anderson, Dara Birnbaum: Performing Musically
7 Christian Marclay, The Medium as multiple
8 Pipilotti Rist, Immersing
9 Pierre Huyghe, Repurposing Sound
10 Steve McQueen, The Destabilizing Ground
11 Jane and Louise Wilson, An Other Index
12 Total Screen (Ryoji Ikeda, Carsten Nicolai, Granular Synthesis
13 Ryan Trecartin, Videocore
End: Elizabeth Price, Noise Capture
Bibliography
Index
In
Rumour and Radiation, Paul Hegarty provides novel insight into and strong evidence of the audiovisual nature of video arts as it turns out to play a key role in contemporary crossmedia practices. His arguments are convincing: that sound and image in video are different yet connected to each other. His many examples are fascinating, particularly the importance of sounds in the creation of spatial effects in video works where the artists, like Bruce Nauman, Jane and Louise Wilson, Christian Marclay, or Ryoji Ikeda, explore materials and perceptions across usual borders. This work is an illuminating source that sets a new tone for readjustments and critical engagement with multi-sensorial processes in our still predominantly 'visually' conceived culture. Yvonne Spielmann, Dean of Faculty of Fine Arts, Lasalle College of the Arts, Singapore, author of Video. The Reflexive Medium (2008) and Hybrid Culture (2013)
Paul Hegarty is Professor of French and Francophone Studies at the University of Nottingham, UK. He is the author and editor of 11 books that span critical and cultural theory, rock, experimental and noise music, as well as audiovisual art including
Noise/Music (Bloomsbury, 2007),
Rumour and Radiation (Bloomsbury, 2014) and
Annihilating Noise (Bloomsbury, 2020). He is also Co-editor of Bloomsbury's
Ex:Centrics series.
Über den Autor
Paul Hegarty teaches Philosophy and Visual Culture at University College Cork, in Ireland. He is the author of Noise/Music (Continuum, 2007). He jointly runs the experimental record label dotdotdotmusic, and performs in the noise bands Safe and La Société des Amis du Crime.
Inhaltsverzeichnis
Acknowledgements List of Illustrations Introduction: How Video Works and How It Sounds 1 Expanding Cinema 2 Bruce Nauman and the Audiospatial 3 Body as Screen 4 Gary Hill, Seeing Language 5 Bill Viola, Elemental Ambience 6 Dan Graham, Stan Douglas, Laurie Anderson, Dara Birnbaum: Performing Musically 7 Christian Marclay, The Medium as multiple 8 Pipilotti Rist, Immersing 9 Pierre Huyghe, Repurposing Sound 10 Steve McQueen, The Destabilizing Ground 11 Jane and Louise Wilson, An Other Index 12 Total Screen (Ryoji Ikeda, Carsten Nicolai, Granular Synthesis 13 Ryan Trecartin, Videocore End: Elizabeth Price, Noise Capture Bibliography Index
Klappentext
An original, philosophically rigorous, study of video art that addresses a neglect in art criticism and a bias in sound studies.
An original, philosophically rigorous, study of video art that addresses a neglect in art criticism and a bias in sound studies.
