Paper Published – An Elucidation Of Public Sound Art – SoundEffects Journal

SoundEffects – An Interdisciplinary Journal Of Sound And Sound Experience, 2(1) Available at:

[From the Editorial] This issue of SoundEffects presents a number of papers given at the Sound Acts conference in Aarhus, Denmark on 23-25 September 2010. The aim of the conference was to profile contemporary sound studies and to contribute to the discussion and development of the auditive paradigm in general. The conference conceptualised the field of sound studies via four different themes: sound as art, sound in culture, sound in theory and sound in history.

In the present publication we have strived to illustrate the diversity and the heterogeneity of the field on the basis of the submitted papers. In the current issue we have chosen not to follow the four tracks of the conference; instead, the ten articles are presented in three categories: a historical category, a category concerning the question of how we can conceptualise sound and sounding phenomena and, finally, a category concerning the perception of sound.

An Elucidation Of Public Sound Art Through A Non-Sonorous Tradition
Andueza Olmedo, M. (2012). An Elucidation Of Public Sound Art Through A Non-Sonorous Tradition. SoundEffects – An Interdisciplinary Journal Of Sound And Sound Experience, 2(1), 44-60. Retrieved from

[Abstract] The origin of sound art is usually framed into previous sonorous artistic manifestations such as Futurism or Fluxus. However, it is possible to appreciate in other non-sonorous manifestations some features of sound art that go beyond its own sonic hegemony and incorporate essential notions of temporality, spatial construction and recognition that make clearly understandable the arise of a sonorous artistic practice. In this paper the attention is focused in public sound art to observe three main topics: the viewer, the city and the concept of space, whose evolution propitiated – in a very natural manner – the beginning of public sound art. Max Neuhaus’ Drive-in Music installation will be the connecting thread throughout the paper. His prolific career that covered a big range of topics helps us to connect public sound art whit artists and thinkers who are barely linked to sound art and however introduce issues about temporality, sonority and spatiality in their works. With this inquiry into the roots of sound art we are proposing also a history of sound, written not only from the evidences but also through the suggestions and innovative readings of artworks – far from sound – and other contributions from different fields that undoubtedly influenced to sound artists.

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