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本文提供了一个关于声音艺术的综述,包括它的历史和艺术发展,以及这个名称被用作为一种分类类别时所具有的复杂性。本文首先介绍正在被使用的声音艺术的各种定义和最近一些美术馆展览使得这个流派的参数看起来开放的方法,以及要在展览环境中为声音找到一个展览“框架”时所面临的问题。随后,这篇文章展示了声音艺术其形式的美学根基,包括几个世纪以来随着录音、具象音乐和空间化作曲的发明而带来的声音和图像的分离。为了将声音艺术对艺术中不同学科的意义以及声音在当代社会的位置置于具体的语境中,本文探索了声音艺术与20世纪60年代的艺术运动的关系,包括大地艺术、环境音乐、视觉艺术家使用的声音、建筑、声音雕塑、监视、声音设计和声音生态。文章在结论里借着对声音艺术身份认同的诠释日趋增加的流动性,讨论了D.A.M.A.G.E.和大卫·伯恩(David Byrne)近期的两个介于音乐和声音艺术之间的作品。
This article provides an overview of the art of sound, including its history and artistic development, as well as the complexity of the name being used as a taxonomic category. This article starts with a description of the various definitions of the sound art being used and the ways in which some of the most recent art gallery exhibitions make the genres’ parameters seem open, and when it comes to finding an exhibit for the sound of the exhibition environment problem. The article then presented the aesthetic foundations of the form of sound art, which included the separation of sound and image from the centuries-old invention of recordings, figurative music and spatial compositions. In order to put the significance of sound art to different disciplines in art and the position of sound in contemporary society in a specific context, this paper explores the relationship between sound art and the art movement of the 1960s, including the art of earth, environmental music, visual Artists use sound, architecture, sound sculpture, surveillance, sound design and sound ecology. In the conclusion, the article discusses the recent two works between music and sound art by D.A.M.A.G.E. and David Byrne, with increasing fluidity through the interpretation of sound art identity.