Sound Art Situations

Groth, Sanne Krogh; Samson, Kristine

doi:10.1017/s1355771816000388

Cited by 10 publications

(3 citation statements)

References 11 publications

(13 reference statements)

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“…Unlike conventional music that can theoretically be displayed everywhere or at least at any performance hall, sound installations are often significantly connected to the site on which they are standing, and their design is commonly considered with respect to the architectonic, sociological, historical and other contextual information, gathered under the term sitespecificity (Tittel 2009), or situations (Groth and Samson 2017). Overall, it is reasonable to claim that the musicality of an urban sound installation emerges from a creator's thought to form a site-specific listening relationship, such that a sound installation feels like a natural expression of the site.…”

Section: Site-specificmentioning

confidence: 99%

Experiencing Sound Installations: A conceptual framework

et al. 2022

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We propose a conceptual framework for describing and documenting sound installations from a visitor’s point of view. In the form of a taxonomy, the framework includes four complementary perspectives: sound sources, sound design approaches, visiting modalities and visual aspects. Its elaboration was informed by a review of contemporary sound installations in Quebec as well as a literature review on conceptual and theoretical frameworks on sound art and sound installations. Compared with existing frameworks, the taxonomy is useful for describing and comparing sound installations across meaningful perspectives from a visitor’s stance. To illustrate the potential benefits of the taxonomy and the diversity of installations it can portray, we provide a comparative analysis of four contemporary sound installations from different perspectives. We conclude with the use of this taxonomy for documentation purposes.

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Section: Site-specificmentioning

confidence: 99%

Experiencing Sound Installations: A conceptual framework

et al. 2022

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“…Furthermore, mediation does not stop with the sculpture itself. In their article ‘Sound Art Situations’, Sanne Krogh Groth and Kristine Samson (2017) argue that sound artworks necessarily become entangled in their spatial and social context, making it impossible to separate the artwork proper from the contingencies in which it operates. For Speaker Sculptures , these contingencies necessarily include the works’ embeddedness in specific sites, their temporalities, and curatorial framings.…”

Section: Speaker Sculpturesmentioning

confidence: 99%

Creative Agencies in Participatory Sound Art: Two case studies

Keylin

2022

Org. Sound

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This article explores the distribution of creative agency between artists and audiences in participatory sound art through the lens of perspective theory. In contemporary creativity studies, perspective is taken to mean the way in which an actor’s perception of the environment is structured by their intention to act. According to Vlad Glaveanu, constructing and taking new perspectives constitutes a necessary condition for creative acts as it reveals new affordances of the creator’s materials. In this article, I investigate the perspectives of sound artists and participants through ethnographic case studies of Katrine Faber’s participatory performance Let Us Sing Your Place and Benoît Maubrey’s interactive Speaker Sculptures. In Faber’s performance, the participants use their voices to recreate the soundscape of a place described by one of them. Maubrey’s sculptures are large structures built out of loudspeakers through which the participants can play their own sounds via Bluetooth, phone lines or directly plugged-in microphone. Analysing ethnographic observations and interviews with artists and participants in the two case studies, I discuss how their perspectives are constructed and communicated through artwork’s materialities. Exploring the particularity of perspectives induced by participatory sound art, I show how it challenges a number of conventional ideas about sound and auditory culture.

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“…This dichotomy of perception and production arguably becomes even more pointed in the case of participatory sound art, which makes the theory of musical mediation applicable, despite its musical and sociological roots. Participation underscores the distributed character of sound artworks, reconceptualizing them as situations rather than objects (Groth & Samson, 2017) and turning them into micro-societies that prompt a social perspective. Music, on the other hand, shares a number of soundmaking strategies with sound art, and it is by looking at mediations and mediators that the differences in these strategies can reveal themselves.…”

Section: Creativity Affordance Mediationmentioning

confidence: 99%

Crash, boom, bang

Keylin

2020

SoundEffects

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Audience participation is a prominent thread running through much of sound art practice, yet it remains largely absent from the sound art scholarship. In this article, I argue that the most widespread methodologies employed in sound art research – roughly split into the phenomenological branch and the object-oriented branch – are ill equipped to tackle the questions of sociality and participation. Instead, I offer a framework for the study of participation in sound art – and, more broadly, for sound aesthetics in general – rooted in the pragmatist tradition. My starting point is John Dewey’s conceptualization of an artwork as an aesthetic experience developing in cycles of doing and undergoing – a structure, he claims, present in both the creative process and the reception of artworks, putting them on equal footing. I then expand this notion by turning to the contemporary pragmatist trends in creativity studies, ANT and affordance theory, introducing the concepts of we-creativity, mediation and affordance. The second half of the article focuses specifically on affordance – a relationship between a sound artwork and its audience delimiting and facilitating the possibilities for participation. I discuss the low-level affordances (facilitating elementary action) for creative listening and soundmaking and high-level affordances (facilitating complex behaviors) for creativity, experimentation and connectivity. I conclude that the pragmatist framework allows to go beyond the subject- or object-centeredness of phenomenological or object-oriented methodologies, bringing to the foreground the relational and social character of sound art.

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Sound Art Situations

Cited by 10 publications

References 11 publications

Experiencing Sound Installations: A conceptual framework

Experiencing Sound Installations: A conceptual framework

Creative Agencies in Participatory Sound Art: Two case studies

Crash, boom, bang

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