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by: Graciela Hilpert III


Graciela Hilpert III
GPA 3.74


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Class Notes
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This 18 page Class Notes was uploaded by Graciela Hilpert III on Wednesday September 9, 2015. The Class Notes belongs to DXARTS 200 at University of Washington taught by Staff in Fall. Since its upload, it has received 11 views. For similar materials see /class/192120/dxarts-200-university-of-washington in Digital Arts And Experimental Media at University of Washington.

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Date Created: 09/09/15
DXARTS 2 0 0 TheArtafNoise 0 JG co 2 go a an as ea no ea a 00 no 5 no a so as go 00 00v 00m 090 000 Can 000 moo c o o 000 000 000 Q a 1 o o o o o o m ao uo a w mean oa aa o nouuduuounoroocaa on con nedquot a n a a o o a pb 95 Po un n a C c c moo CO 0 00 oo 00 oo o a 00 so do on 00 O 00 KOOOrGOOrK The Readymade Marcel Duchamp Fountain 1914 e Futurism Grasped electrical mechanical and destructive nature of European culture Inspired by speed electricity war Let us cross a great modern capital with our ears more alert than our eyes and we will get enjoymentjrmn distinguishing the eddying of water air and gas in metal pipes the grumbling of noises that breathe and pulse with indisputable animality the palpitation ofualues the coming and going ofpistons the howl ofmechanical saws thejolting ofa tram on its rails the cracking of whips the apping ofcurtains and ags We enjoy 3 creating mental orchestrations ofthe crashing down ofmetal shop blinds slamming doors the hubbub and sh u ing ofcrowds the variety ofdin from stations railways iron foundries spinning wheels printing works electric power stations and underground railways Luigi Russolo 1913 Futurism 7 i V 7 ml an luk dvl IV quot9 IQ Y Henry Ford a gd ThQS A Intanarumori Noise Systems and Structures oise were simply the sounds music could not use D0ug Kahn o Semiotics the Signifier and the Signified 0 Saussure 0 Language and a language of language 0 signs Richard Karpen Life Study 4 1995 Phenomenologyz A philosophy or method of inquiry based on the 393 Music was valued as a modelfor modernist ambitions towards If 39 x If nquot 39 39 quot 1 The Phenomenology of Sound premise that reality consists of objects and events as they are perceived or understood in human consciousness and not of any Llliu 39 ofhuman Plato s De nition of Art Does all art aspire to the condition of music t on J r J 7 communication Its abstracted character was thought to have already achieved what the other arts were attempting Doug Kah Pierre Schaeffer and Musique Concrete Early work was carried out whilst employed at the French National Radio Agency ORTF Experiments with recorded sounds playing saunas backwards slowing sounds down 39 so m up 39 juxtaposing minds with other sounds Founds Groupe de Recherche de Musique Concrete GRMC in 1949 Gets a tape recorder 9N7an J lm In quot quot n ReMiFuquot natural and industrial sounds but L j I fr 391 lf I 1 D 391 f7 3 if ii a If L th pk 011quot 7nl 5 r 1quot 39I T Pierre Schaeffer and Musique Concrete L objet sonore Radical opposition to traditional composing No longer premised on notion of performer score composer performer Musique Acousmatique or Reduced Listening Using only our ears to discover the characteristics of sounds What is important is the sound not the source Sound is material concrete U U rig Significant in uence upon contemporary electronic music Disinformation National Grid 1996 A a 39 y 1 lg n l u I I r 391 39 r 39 lt r x x v a f w 1 39 l I Ir 4 lv C I g 3 V Jr 3 139 iv I f N J f y V I Y a I A V V 5 391 quot I v quot lx 39 n 39 39 3 z r r r H 9 r f 1 A J l l t i f i A x 39 r 39 A 39 a v 3 r 0 i k39 Ol A quot f l j 4 39C f C Pierre Boulez and Serialism Arnold Schoenberg 12 tone music the twelve pitches of the octave are regarded as equal and no one note or tonality is given the emphasis it occupied in classical harmony n an a I ll 17 PCno0139211410856 Sample Five Pieces for Orchestra 1909 Explicitly systems based means to generate new expressive forms Post WW2 Serialism Use of pre de ned parameters within which to compose music Identi ed as analogous to modernist visual art forms such as Abstract Expressionism Retains value of performance score composer performer Academically accepted widely in uential Boulez Structures for 2 Pianos 1952 Karlheinz Stockhausen Study I 1953 John Cage Williams Mix 1952 600 recorded sounds city soun ds commy sounds electronic sounds manually produced sounds wind produced sounds small sounds The Sound of Silence Technology was enabling artists to hear things that were previously unavailable Silence is all of the sound we don t intend There is no such thing as absolute silence Therefore silence may very well include loud sounds and more and more in the twentieth century does John Cage 1970 r x l 4 33 1952 WM Anus AnniGun mi idl er W quot1 Her lm PROGRAM MAVERICK DOICEI39I HALL Friluy Am 29 ads P M um um mm Beyond restlessness a zoling beeing L hk tl d or L39Ullllt d lies an acute awareness ufllw immediate sonic onvlranment and i 5 lies a plateau afmomnry antlfculing that may have been unexplored within individuals n decades David T001 The Invisible Project 1969 a everything is still the same as it was but it s c lszerent w A coliaibomtion betweel i artists Robert Irwin and James Turreily and psychologist Edward Wortz a Project goal was to quotinvestigate inner states quot Ruben Irwin and James TurveH tes ng enuipmem in UCLA s Anachmc Chamber 0 quotsounmsss mmquot was in cannac cn wilh he Los Angeles Counw Museum ul A s Ar and Tachnoogy pmgram Cannesy Los AngeiEs Cuumy Museum mm Phum by Maicalm Lubliner Jack Burnham The Structure of Art 1971 Burnham s major text heavily in uenced by LeviStrauss Structuralist thinking Claude LeviStrauss was known for his work in structu mm Vin an nm 39 39 39 39 ral I uudcl dud cultural phenomena such as mythology and seeldng out the deep patterns and structures through which meaning is constructed and reproduced within our society Burnham quot 39 U uucuye 39 tnlr tnre of art Mn 139 r vmnl rnnip arm or L 4 39 mwuu My 39 creation vfurt Yet the structuruI signi mnoe t thefubricuting process important e concludes that it is possible to create artthat has no ohjecthood I arristover me i 1 1 t Real Time Art again Structured sound objects that are not pretending to be something they are not they are the thing itself bot1 signi er and signi ed It is important for this kind of work to be dynamic and non xed Once it becomes xed it will potentially become a signifier of something else Cage Irwin Burnham all suggest the idea of an artwork that is a container for unstable matter that defies and eludes de nition and description Marcel Duchamp Air de Paris 1919 From Readymade to Serialism to Electronic Music Coordination Acous queMusique 1958 Pierre Schaeffer forms GRM Groupe de Recherche Musique Both approaches bene t from computational processes Electranitt sound should bepn39nn39tized aver i39 instrumental or other auditive assaciatians such associatinns divert the listener39s L v u 4 4 1 1969 Pierre Boulez forms IRCAM Institut de Recherche et de l t I J in him because he thinks afbells organs birds orfaunets W tockhausen 1961 A new generation ofpractitioners emerge 9 engineering Electronic hardware engineering 39 we phi phias Open issues thsryi 2 rl av nrnhlemil quot serialjsm then 1 i ii an Homework 5 Read the following texts Luigi Russolo The Art of Noise 1913 Douglas Kahn quotImmersed in Noisequot from NOISE WATER MEAT 1999 pages 25 44 Douglas Kahn John Cage Silence and Silencing from NOISE WATER MEAT 1999 pages 161 199 Then in the spirit of Russolo39s Art of Noise manifesto compose your own manifesto to speculate about the future creative organization of noise based upon the materials we ave covered in class so far and the work you heard in the DXARTS concert Your manifesto should be at least one page long not counting images etc You can also accompany your manifesto with a CDROM if appropriate Submit your manifesto to your TA during Friday39s section


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