Sound Installation

I l padre della locuzione « Sound installation » è Max Neuhaus ; l'ha adoperata per la prima volta nel 1967, nell'occasione della composizione Drive in Music (Neuhaus 1967). Installazione sonora è, però, una categoria strana e imprecisa. Per due motivi : in primo luogo, perché è formata dalla giustapposizione di due parole prive di una definizione puntuale (almeno il concetto di installazione) ; in secondo luogo, perché la loro unione in una locuzione unica comporta un paradosso logico. Infatti, come si vedrà meglio nel prosieguo di questo breve saggio, nello studio della maggior parte delle installazioni, si evita la dimensione meramente mediale (cui rimanda il termine sound), in favore di quella modale.

Theorists and musicologists have asked what particular musical works mean, what particular musical objects represent, what they narrate or disclose, and how those meanings got there. Recently, some thinkers have jettisoned music-language parallels in favor of investigating music’s ineffability, its sensuous effects, and the materialities of its performances. However, both routes of inquiry, whether sympathetic to the music-language analogy or not, rest on assumptions about the concept of meaning itself. Both typically ground the music-language analogy in the semantic aspects of language meaning—how language repressents, refers to, or discloses the world. If meaning and semantic representation are conflated, music’s efficacy—which exceeds its representational modalities—becomes, dissatisfyingly, the other of its meanings.

This project challenges the status of representation in conceptions of the music-language analogy, developing an alternative foundation for understanding musical meaning from philosopher J. L. Austin’s concept of “performative utterances.” Austin and other thinkers in a tradition now called “ordinary language philosophy” rejected the view that language meaning is chiefly a matter of how it represents states of affairs or states of mind—its constative dimension. The performative dimension of language, however, names the ways words and sentences are used to accomplish semiotic actions and produce effects. This concept grounds language meaning in the efficacy of language use in social praxis. In Chapter 1, I develop an analogous theory of musical meaning, grounded in the semiotic actions and effects produced by music as utterance. Music is often said to be, if anything, expressive; but expression—strictly speaking, the mapping of inner content to outer signifying form—is a weak conceptual basis for what we think of when describe music as expressive. Instead, conceiving of music’s meaningfulness in terms of its efficacy as sonic utterance supplies the condition of possibility for musical expression, reference, and disclosure while also eliminating the false dichotomy between music’s meanings and its effects.

In Chapters 2 through 4, drawing on fieldwork at European festivals of new music including the Darmstadt Summer Courses and Donaueschinger Musiktage, I explore works by four living composers and sound artists: Michael Beil, Peter Ablinger, Stefan Prins, and Ashley Fure. These works exemplify what I call an aesthetics of efficacy, and their meanings centrally involve the performance of communicative actions such as: the incitement of particular modes of listening, the construction of narrative identities, and the enactment of changed attitudes through musical sound and story. For instance, Ashley Fure’s The Force of Things: An Opera for Objects (2016) is a musical engagement with the problems of the Anthropocene. Through the lens of performative utterance, I characterize it as an ecocritical intervention. Fure’s work creates an abstract narrative that seeks to bring out a sense of the vibrancy and animacy of the non-human objects that star in the piece: vibrating speaker cones, percussion instruments, and elements of the mise-en-scène. Fure aims to incite listeners to leave the concert space with stronger senses of empathy and productive anxiety towards the vibrational events of the Anthropocene, including fracking-induced earthquakes or the calving of glaciers into warming oceans. The encouragement of empathies and incitement of anxieties towards the planetary ecosystem are highly salient aspects of the piece’s meaning, and these are, fundamentally, semiotic actions performed by musical sound.

To fully probe performative utterance and understand its value for musical study, we must expand beyond the study of art music to investigate music in contemporary social life. Like scholars who have used Austin’s work to investigate the injurious efficacy of hate speech, I turn to examine the ethico-political stakes of the performative utterance concept, theorizing music’s potential to become injurious utterance. In Chapter 5, I critique tendencies to frame discussions concerning music as violence in materialist terms, and expose some shortcomings of this materialist, vibrational model. In Chapter 6, I conduct an observational cyber-ethnography of web forums for adult entertainers and their patrons, showing how both groups discuss strip club music’s capacity to elicit erotic dance and facilitate forms of sex work that take place in adult entertainment establishments. I argue that, for victims trafficked into strip clubs, music’s efficacy surpasses its prompting and facilitating functions, becoming the semiotic enactment of sexual violence. Music functions contextually to induce behaviors that promote precarity and rob victims of sexual agency, prompting striptease and lap dances as well as the forced solicitation of commercial sex within grossly uneven power differentials. The final chapters offer a corrective to the admittedly attractive view that music is inherently personally and socially therapeutic, arguing that such thinking is ideological and politically inefficacious.

Jean-François Laporte: ricerca sul suono e genesi dello strumento Relatore: Andrea Valle Candidato: Francesco Ameglio Anno Accademico: 2012/2013 Introduzione Capitolo 1 -Artigiano del suono Capitolo 2 -Compositore Capitolo 3 -Artista e ricercatore Capitolo 4 -La figura di JFL nel panorama della sound art Ellen Fullman e il Long String Instrument Collegamenti con altre figure artistiche Conclusione Appendice -Intervista a Jean-François Laporte Bibliografia Sitografia Ringraziamenti Jean-François Laporte: ricerca sul suono e genesi dello strumento Indice 3 5 20 34 48 53 56 61 63 69 71 72 3

This research considers compositional approaches to creating an immersive interactive sound-based installation. It explores the way sustained sine-tones set at subtle levels combine and propagate throughout a physical space, and how the notion of comfort can be used as a pretext for audience interaction. Research conducted as part of this study suggests that the notion of comfort in relation to sound is highly individualistic, and can lead to a variety of decision-making processes, such as where to stand, how to move through the space, how to negotiate the presence of others, how to engage and interact with the sonic environment, and in doing so, create a uniquely personal sonic experience.

This paper explores a variety of existing interactive and participatory sound systems and the role of different actors in them. In human computer interaction (HCI), the focal point on studying interactive systems has been the usability and functionality of the systems. We are trying to shift the focus more towards creative aspects of interaction in both technology development and sound creation. In participatory sound art, the roles of technology creator, composer, performer, and spectator are not always distinct but may overlap. We examine some challenges in such systems, like the ownership of technical and aesthetic components and balancing engagement and interaction among different stakeholders (designer, composer , spectator, etc). Finally, we propose a discussion on participation, human-computer and human-human interaction within the process of creation and interaction with the system.

Mi propuesta es ampliar el vocabulario del análisis de las vídeoinstalaciones al incluir nuevos términos trans disciplinares apropiándonos de los conceptos del campo sonoro. Para mayor claridad metodológica, hablo por separado de las percepciones de las imágenes sonoras y de las imágenes de vídeo, proyectadas en las instalaciones. En la práctica de la producción artística contemporánea estas imágenes muchas veces se superponen para crear resonancias, consonancias y hasta disonancias trans mediáticas.

One feature that defines sound installation as a genre is the participa-tion of the user. Upon entering the space of a work, the user assumesan active role. Thereby the work takes on a theatrical and formativedimension: an art initially defined through space reveals its temporal-ity. This essay analyzes the theatrical dimension, that is,
the “modal
structure,
”
of works up to 1967, the first period of the sound installa-tion genre. Both interactive and non-interactive works are considered.The analysis shows various models of theatricality for the first yearsof the genre, during which a diversity of origins and genealogy is re- flected. What is common to these experiments is that they seek to in-volve the viewers, a strategy whose roots lie in the aesthetics and ex- periments of the first half of the twentieth century, but which since1955 has become conspicuous.

La ressemblance par contact de Georges Didi-Huberman entreprend une archéologie de l’empreinte comme geste fondateur de l’image et comme paradigme de la forme en art. On envisage à notre tour une pratique du sonore comme naissant elle aussi du processus et des procédures de l’empreinte. L’analyse des techniques de captation et d’enregistrement révèle ce qui survit de cette pratique archaïque dans les dispositifs des arts audio, et pose les bases d’un questionnement du sonore électronique et numérique comme art de l’image. Cet article fut rédigé au début de la recherche doctorale de l'auteure et il pose ainsi, bien qu'encore imparfaitement, une des intuitions fortes de sa thèse soutenue en février 2017 et intitulée : Le son plastique : empreindre le flux et l'inouï. Sonification et audification dans les pratiques installatives (2017).

Este trabajo propone un recorrido que me permita profundizar en lo que es la sonificación. ¿Quién, cómo y porqué? Los científicos usan la sonificación ya que en algunos casos el sonido es muy útil en la exploración de datos. También lo hacen artistas plásticos, artistas sonoros, músicos o compositores, con herramientas distintas y con propósitos distintos. En una segunda parte del recorrido, realizaré una serie de ejercicios de sonificación, con el fin de poner en práctica algunas de las ideas encontradas, para aprender haciendo más que aprender mirando (o escuchando en este caso).

When one encounters the works of Polish artist, Miroslaw Balka, one almost certainly feels perplexed by his highly minimalist-looking and individuated forms. Apparently, his body of work is a metaphorical language that correlates his art and sensibility with works by the hugely influential precedent set by the late German artist Joseph Beuys in terms of using simple and specific materials with transcendental and metaphysical properties. In this regard, he fuses his work with personal memories of growing up in post-war Warsaw. He allusively suggests a vision of hell and humanity on Polish land in the past. Hence, Balka's work is probably not art that holds one’s attention through visual impact but rather art that murmurs his story...

The paper deals with strategies and techniques for building and using “residual orchestras”, that is, ensembles of low cost music instruments that can be controlled by the computer. First, the notion of “residual” is discussed as a keyword for the project. Then, the physical computing scenario is introduced, as it is the main reference for all the discussed projects. The inspiring “punk” philosophy is presented, and basic values and principles for design and implementation are discussed, in particular “refabrication”, softening, flexibility. A design/production pipeline is presented that takes into account the three different layers in residual orchestras: physical, physical computing, computation. Finally, some projects that have been realized are shortly discussed.

This paper investigates the notion of occupation as dynamic physical and multisensory relationships within architectural environments. Our study specifically focuses on the construction of myriad relationships between physical, visual and auditory articulations of space, and how these shape human activities and interactions. By drawing on literature from the areas of visual and acoustic ecology (Gibson, Truax, Schafer) we seek to frame the notion of human occupation as temporal interrelations between acoustic arenas, soundmarks, and sonic events, as well as their visual equivalents. Additionally, we use Brian Massumi's discussion of synaesthetic fusion, movement and sensation as a philosophical tool for interrogating these interrelations. For the design project we have nominated a site within RMIT University's city campus in Melbourne, Australia. The applied research methods include the auditory and visual capture of environmental data via video, still photography and stereo recording techniques. We subsequently produce a series of sound and video compositions, constructing new spatiotemporal and sensory relations from the material captured within Bowen Street. This approach serves as a technique for initiating a qualitative design proposition for the site that shifts modes of occupation through visual and auditory interventions. The paper concludes with speculations about the significance of interrelations between visual and auditory spaces in designing environments for human occupation.

Trabalho de conclusão de curso para o curso de bacharelado em piano na Universidade de São Paulo

Orientação: Rogério Costa

RESUMO

Este trabalho é um diário tecido durante aproximadamente
dois meses, levando em consideração a ideia de expansão
da minha relação com o piano. Foi feito como um processo
particular de estudo. Ele foi construído a partir de
palavras-chave, na tentativa de estabelecer uma rede de
assuntos que considero importantes durante a graduação
em piano, especialmente em torno de três conceitos:
presença, experimentação e interação. Dentre os múltiplos
tópicos abordados destaco a eutonia, a improvisação livre
e o feminismo.

Palavras-chave: piano, presença, experimentação,
interação, eutonia, improvisação livre, feminismo

ABSTRACT

This work is a diary wove for about two months, with
the idea of expanding my relation with the piano. It
was made as a particular study process. It was based on
keywords, as an attempt of establishing a net of subjects
that I consider important to the bachelor’s degree in piano
during athe piano graduation, specially around three
concepts: presence, experimentation and interaction.
Among the multiple topics explored I highlight eutony,
free improvisation and feminism.

Key words: piano, presence, experimentation, interaction,
eutony, free improvisation, feminism.

Nowadays, interaction represents an attractive approach for deploying new forms of entertainment and art. Towards this aim, novel technologies can make possible advanced concepts of interaction, hence supporting complicated application scenarios. In this work, an interactive audiovisual installation is presented, which aims to make the participant interact with the stars in the space. Human gesture based interaction is employed in order to control the visual and audio reproduction in real time.

A l'écoute du bruit / Luca Forcucci / 2014 Des expériences d'écoutes menées dans la forêt Amazonienne Brésilienne et à Shanghai en Chine ont contribué à enrichir la perception de l'environnement. Le corps, le toucher et d'une certaine manière la proprioception (la perception de soi) sont envisagés et présentés ici comme des compléments sensoriels importants de l'écoute. Dans ce cadre, deux installations sonores développés par l'auteur intègrent ce qui précède. Introduction Dans un monde où l'information visuelle est constante, perpétuelle et pervasive, notre faculté de concentration sur l'écoute semble devenir de plus en plus difficile. Nous entendons, mais est-ce que nous écoutons? L'information est devenue le Saint Graal de nos sociétés. Il s'agit certainement d'une époque remarquable, mais une époque polluée par l'information. Roland Barthes propose qu' « entendre est un phénomène physiologique alors qu'écouter est un acte psychologique » (Barthes 1982: 212). Ecouter veut dire impliquer le cerveau et la mémoire, de même que les sens sont aux aguets, au moment de traverser une route, par exemple, conscients de situations mortelles, les capacités de survie du corps sont activées, ou la nuit dans les rues sombres, la vision est réduite et donc l'attention auditive augmente. Deep Listening Le Deep Listening 1 est une pratique qui inclut une écoute intérieure, une écoute attentive, et est, d'une certaine manière, une forme de méditation. Au lieu du flot polluant constant d'information, il s'agit d'une concentration sur l'écoute de soi et sur l'environnement sonore. Le soi, le for intérieur et l'écoute attentive sont liés d'une certaine manière à la conscience. Par conséquent, cette pratique active une écoute consciente, qui est l'écoute de l'écoutant et la réalisation consciente de ses effets. 1 Qui se traduit littéralement par écoute profonde, voir écoute dédiée.

Le Souffle de la Terre/The Pulse of the Earth is an on-going sound work (1996-20-) by the artist L. Abenavoli. She outlines the sonification methods employed in the making of the work in an analysis of its technical and conceptual features. The work is described in terms of her artistic objectives.

Voice technology has reached a level where it is possible to create credible speech synthesis, close to human characteristics. It is now possible to implement any vocal identity into an artificial voice, a technique also known as vocal cloning. New companies are offering to create someone’s own vocal clone, bringing this technology accessible to individuals. Two examples of vocal clone services were studied in this work. It was noticed that the resulting clones, are unfortunately not capable of reproducing the original timbre of the voice. However, the research community produces speech synthesis that can credibly reproduce a specific vocal signature. For this work, I had my own voice cloned at IRCAM. Can a vocal clone give a glimpse of our identity ? By presenting THE VOICE IS VOICES, a sound installation about vocal cloning, we try to make the audience doubt its ability to discern a « real voice » from its artificial twin.

A fascination for models derived from natural organisation of organisms has a long history of influence in the arts. This paper discusses emergence as a complex behaviour and its manifestations in the sonic domain. We address issues inherent in the use of visual/spatial metaphors for sonic representation and propose an approach based on sound interaction within biological complex systems.

In this presentation, I explore how a community at the margins of national histories registers sonic memory as a means of survivance. Makota’ay, a Taiwanese indigenous (Pangcah) community in present-day Hualien County, has both benefitted and suffered from its location at the mouth of the Siugulan River. As Pangcah oral history recounts, river and ocean brought the ancestors of Makota’ay Pangcah to Makota’ay and still delivers resources. The river also conveyed colonial merchants, armies, and settlers (including Taiwan’s ethnic Chinese majority). Thus, Maokota’ay Pangcah live in multiply occupied places in which sounds index both ancestral presence and a series of colonial occupations from the late 19th Century to the present. Employing soundscape documentation as well as oral historical and archival research, I listen for more than sonic traces of these multiple occupations: I consider how Pangcah register these traces as sonic memories. I argue that such registrations often display a gap between the intentions of occupiers and the lived experience of the community, a kind of failed mimesis through which indigenous people sound traces of occupation, making these sounds resonate as figures of survivance. At times, sound, such as the echo of waves within a coastal cave or a drop of dew into a canyon, transforms relationships of occupation; when these sounds are narrated, they become alternate histories. As such, sound in its various registrations forms part of an ethics of place opposed to settler presence. To understand the ethical force of remembered sound, I argue, requires us to think more clearly about how indigenous people employ sonic practices—some traditional but others borrowed from settlers—to register sounds of occupation. This work will require closer engagement with indigenous sonic practices and also suggests frameworks for collaborative sound installation art.

FluxOdiOcartO est une action/installation audio-paysagère qui mixe en temps réel des am-biances sonores locales, pour nous les faire voir et entendre autrement. Nous fabriquons ainsi une scène acoustique et une cartographique singulière, à la fois bâties sur des points d' ouïe emblématiques, captés in situ, identifiables, et sur un brassage sonore permanent réalisé par une sorte d'audio-morphose numérique. Cette exploration auditive nous fera percevoir un paysage auriculaire en perpetuel mouvement, naviguant entre un terrain (re)connu et d'autres inouïs, mais toujours alimentés par le terreau sonore local, les ambiances du cru. C' est une façon ludique et prospective de (re)découvrir des territoires auriculaires environnants, de la concrétude du paysage arpenté jusqu'au qu'à son interprétation via le dispositif de monstration. Entre apparition et disparition, cette installation, par de multiples morphings et polyphonies tissées en contrepoints, pose non seulement la question de l'identité sonore des lieux, de ses esthétiques, mais aussi de l' équilibre fragile, voire du déséquilibre acoustique, liés à une saturation ou à une paupérisation sonore tout aussi sclérosante. Ces dysfonctionnements chroniques se réfèrent et font écho aux concepts de l' écologie sonore, développés depuis les année 70 par le compositeur et chercheur Canadien Raymond Murray Schafer. Et avec ta ville, ton quartier, tes lieux de vie, d'activité, comment tu t' entends ? la question est posée ! Entre musique(s) des lieux et questions environnementales, sont convoquées des approches esthétiques, tout autant que des problématiques liées au confort ou inconfort d' écoute, jusqu'au niveau de l'insupportable, de l'intolérable. En contrepartie, sont aussi abordées les questions des aménités paysagères, du plaisir d' entendre, de s' entendre, voire de bien s' entendre, réflexions primordiales entre toutes ici. Suite à cette action/installation, les séquences sonores demeureront en ligne, traces visitables et écoutables à l' envi sur la cartographie participative et Open Source Aporee. Ce travail, dans ses différentes phases d' élaboration ou dans sa globalité, peut faire l' objet d'ate-liers partagés, outdoor/indoor, avec et pour différents publics. Il peut également être complété par l'inauguration officielle d'un point d' ouïe.

This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America.
Latin America is a continent full of contrasts, and in various places throughout the countries, space reflects the history of each nation through its architecture. We find pre-Hispanic pyra- mids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifesta- tions have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space.
This research paper explores how sound art and technology have been used to re-formulate public space in cities. The study analyses the strategies of major works and installations (that have used space as a medium of creation over the last twenty years in Latin America) from social and spatial perspectives. This paper highlights the potential of sound installation art and intervention of space as a way to engage audiences in urban contexts.

Resumo: Este artigo trata do processo criativo entre o compositor eletroacústico Cláudio Bezz e a artista visual Isabela Espíndola durante a produção de instalação sonora em 2018, no Rio de Janeiro. Abordamos com especial atenção a criação musical eletroacústica envolvida na obra, que constituiu na abstração dos sentidos do ritmo, movimento e forma fixados na imagem, transportados para o campo musical eletroacústico a partir de processos cognitivos incorporados (JOHNSON, 1987), do discurso musical eletroacústico (EMMERSON, 1986) e da substituição gestual (SMALLEY, 1986, 1997)

Palavras-chave: Instalação sonora. Discurso musical eletroacústico. Gesto musical. Cognição musical. Light painting.
Audiofotos: Poetics of the embodied electroacoustic compositions

Abstract: This paper deals with the creative process between composer Cláudio Bezz and visual artist Isabela Espíndola during the production of sound installation in Rio de Janeiro, 2018. We focused on the electroacoustic music composition involved in the work, which consisted of the abstraction of the rhythm, movement and musical form, fixed in the image, translated to the electroacoustic music field from embodied cognitive processes (JOHNSON, 1987), from electroacoustic musical discourse (EMMERSON, 1986) and gesture surrogacy (SMALLEY, 1986, 1997)

Keywords: Sound installation. Electroacoustic musical discourse. Musical gesture. Musical cognition. Light painting.

Hajnal Németh is preoccupied with the visual, corporeal, and aural chasm opened up by the frequently invisible, dislocated or muted object proper of her works. Music, sounds, noises pour into the exhibition spaces constituting, as Don Ihde terms it, the shape-aspect of things and bodies; flashing images exhibit themselves on a stage-like construction as a dismembered narrative; movement caught in stagy frozenness highlights the falsity of performative gestures. The abyss automatically calls for surrogate narratives, identities, and artefacts to defy our ontological insecurity. Németh creates the conditions for this pluralism through a Merleau-Pontian synergy of the tangible and the visible, on the one hand, and by exploiting the conventionally unnoticed sonorous quality of shapes, surfaces, and interiors, evoking Ihde’s aural phenomenology, on the other hand. The aural vacuum turns palpable the way the human body transfigures into a musical instrument, the faceless musicians can be identified by their body prints (moles or skin imprints) or occasionally by one’s voice as a sonic “fingerprint.” Németh allures us by the promise of a recreated subjectivity that infiltrates our social and cultural fabric at the concurrence of the musical, the corporeal, and the filmic spheres.

« Auprès de mon arbre je vivais heureux... » Georges Brassens Plaisirs arborés Depuis longtemps, je côtoie la gente sylvestre. Mes parents y marchaient longuement, cabanes et champignons. Mes grands-parents avaient une ferme au milieu des bois. Je suis né dans une région où l'exploitation forestière est une activité centrale, deux de mes oncles étaient bûcherons. J'ai fait des études d'horticulteur paysagiste. Et plus que jamais, je promène mes oreilles au gré des troncs et branchages, posant une oreille bienveillante sur les forêts rafraichissantes et les vieux arbres séculaires, dont ceux qui résistent encore à l'urbanisation bétonnante. Bref, je parlerai ici de paysages sonores arborés, ou bien des arbres sonores, sonnants, auscultés... « Auprès de mon arbre j'écoutais, et j'écoute heureux... ». Dans ce monde bruitaliste, l'adaptation de cette phrase, citée en exergue, et surtout sa mise en oeuvre, peut nous faire le plus grand bien. « Comme un arbre dans la ville » Maxime Le Forestier 1972 Dans un souffle, ou une tempête Tout commence par une brise légère, un doux zéphyr qui caresse les branches et fait frissonner les feuillages. Ça bruisse, comme des chuchotements aériens. Parfois, ça grince, bois contre bois. Écoutez le peuplier tremble (Populus trémula) le bien nommé, qui chante sous le vent. Mais aussi le saule ou le roseau. Et plein d'espèces dont le frisson diffère selon les vents et essences. L'arbre est parfois le révélateur du vent, celui qui lui donne corps en lui opposant une résistance audible. Parfois, sous un coup d'orage capricieux et imprévisible, les arbres se crispent, ploient, gémissent, résistent quittent à y laisser des plumes vertes, et parfois hélas, ils s'écroulent terrassés dans de tristes fracas.

Trabajo de Fin de Máster en Arte Sonoro, Universidad de Barcelona, 2021.
Autor: Juan Pablo Moreno. Tutor: Josep Manuel Berenguer.
El presente trabajo consiste en la documentación de un proyecto artístico en el ámbito del arte sonoro. Para ello se presenta y describe el desarrollo de una propuesta que incluye elementos de instalación sonora, paisaje sonoro, videoinstalación y música electroacústica. Se ha tomado como punto de partida la ciudad como fuente sonora y como espacio de relaciones entre personas y medios tecnológicos que conforman un entramado de sonidos que se entrelazan de manera continua. Se trata de proponer una determinada escucha en un sentido amplio, puesto que se propone la utilización de varios medios simultáneos para la creación de la situación de escucha.

This paper explores the relationship between sound installation art and the appropriation of urban public spaces in Latin America. Latin America is a continent full of contrasts, and in various places throughout the countries, space refl ects the history of each nation through its architecture. We fi nd pre-Hispanic pyramids coexisting with colonial churches and modern buildings. In the last two decades, these sites have been used for purposes other than those for which they were created. On the one hand, these spaces have been used to provide cultural experiences for people in areas that cannot access traditional venues such as concert halls. On the other hand, political manifestations have adopted such places as icons of social change, and sound has been used to provide a social/cultural meaning, using the space as a medium. These activities have changed the ways in which audiences and creators relate to sound and space. This research paper explores how sound art and technology ha...

The free download album "Siteworks" (2021) collects a sonic documentation of most of Gerald Fiebig's solo sound installations realised between 2009 and 2018. This is the accompanying booklet with the artist's notes on the conceptual background of the works. The audio can be heard at https://emerge.bandcamp.com/album/siteworks.