Sounding Spaces Aurality in Samuel Beckett, Janet Cardiff and Bruce Nauman

Tubridy, Derval

doi:10.1080/13528160701397984

Cited by 3 publications

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References 1 publication

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“…Several more recent installations explicitly make use of the speaker-as-point-source model. Janet Cardiff’s Whispering Room (1991), for example, is a 16-channel work in which multiple female voices recount stories on independent speakers, permitting for visitors a cocktail party effect-like ‘tuning in’ to voices within the crowd (Tubridy 2007: 8).…”

Section: Space and Spatialisationmentioning

confidence: 99%

Acousmatic Approaches to the Construction of Image and Space in Sound Art

Batchelor

2015

Org. Sound

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This article considers ideas of image and space as they apply to acousmatic music and to sound art, establishing overlaps and compatibilities which are perhaps overlooked in the current trend to consider these two genres incompatible. Two issues in particular are considered: compositional (especially mimesis and the construction of image, and what shall be termed ‘ephemeral narrative’) and presentational (in particular multichannel speaker deployment). While exploring several relevant works within this discussion, by way of a case study the article introduces the author’s GRIDs project – a series of four multichannel sound sculptures united in their arrangement in geometric arrays of many (in some cases potentially hundreds of) loudspeakers. These permit, by virtue of being so massively (and geometrically) multichannel, the generation of extremely intricate spatial sound environments – fabricated landscapes – that emerge directly from an acousmatic compositional aesthetic. Owing to their alternative means of presentation and presentation contexts, however, they offer very different experiences from those of acousmatic music encountered in the concert hall. So the latter part of this article explores the various ways in which the listener might engage with constructed image space within these sound sculptures, along with the relationship of the audio content of each with its visual and situational setup – that is, its environment.

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Section: Space and Spatialisationmentioning

confidence: 99%

Acousmatic Approaches to the Construction of Image and Space in Sound Art

Batchelor

2015

Org. Sound

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Grasping the Intimate Immensity: Acousmatic compositional techniques in sound art as ‘something to hold on to’

Batchelor

2019

Org. Sound

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This article explores the accessibility of acousmatic compositional approaches to sound and installation art. Principally of concern is the consideration of intimacy to create a means of ‘connecting’ with an audience. Installations might be said to explore ideas of intimacy in two ways which increase accessibility for the installation visitor: through cultivating installation–visitor relationships, and through encouraging visitor–visitor relationships. A variety of ways in which various acousmatic compositional techniques relating to intimacy might be brought to bear on and operate as a way of drawing a listener into a work are explored, in particular as they relate to the consideration of space and spatial relationships. These include recording techniques, types of sound materials chosen, and the creation of particular spatial environments and listening conditions. Along with a number of instances of sound art provided by way of examples, my ongoing GRIDs series of sound sculptures will provide a case study of works related to an acousmatic aesthetic where these concerns find an outlet.

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