DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE
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DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE
Environnement, paysages et arts sonores - Balades, installations, performances, écologie, web-art... Dégourdissez vous l'oreille !
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Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918

Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918 | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it
By Ian Biddle in European History and Music History. Cultural Histories of Noise, Sound and Listening in Europe, 1300–1918 presents a range of historical case studies on the sounding worlds of the European past. The chapters in this volume explore
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Sound and Listening: Beyond the Wall of Broadcast Sound

Sound and Listening: Beyond the Wall of Broadcast Sound | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it
(2015). Sound and Listening: Beyond the Wall of Broadcast Sound. Journal of Radio & Audio Media: Vol. 22, Sound Matters, pp. 115-121. doi: 10.1080/19376529.2015.1015874
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Sound: A Brief History - The Nature of Things: Science, Wildlife and Technology - CBC-TV

Sound: A Brief History - The Nature of Things: Science, Wildlife and Technology - CBC-TV | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it
From echos in the deepest chambers of caves to the roar of a crowd in a town square - a look at how humans have found ingenious ways to manipulate it.
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ALL SOUND IS QUEER

Pushing off from experiences in which music hails its listener in terms of communal belonging, this essay tries to productively shift our attention towards the queerness of sound itself, as both an agent and a solvent of the political experience of
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The Sound and the Fury (Situationist International)

Situationist observations on 1950s youth rebellion, Beat Generation, Angry Young Men, and Surrealism.
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Anna Marinenko connects nature and noise for sound form wave - designboom | architecture & design magazine

Anna Marinenko connects nature and noise for sound form wave - designboom | architecture & design magazine | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it
ukrainian designer anna marinenko has drawn a symbolic and visual connection between noise and nature for 'sound form wave'.
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Thor's cave - Follow suit

Sounding Out, an exploration of natural acoustics, architecture and sacred sites. in situ improvisation inspired by the space, Thor's cave, Derbyshire. soprano saxophone,…
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The sound of locative media: out now

The sound of locative media: out now | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it
My journal article The sound of locative media has now been published by Convergence.  I look forward to hearing your thoughts about this article! The full reference is: Frauke Behrendt (2012) The ...
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Schizophonia at CAC | e-flux

Schizophonia at CAC | e-flux | DESARTSONNANTS - CRÉATION SONORE ET ENVIRONNEMENT - ENVIRONMENTAL SOUND ART - PAYSAGES ET ECOLOGIE SONORE | Scoop.it

Schizophonia explores the histories of music, sound and speech as reinterpreted and written by artists. From Latifa Echakhch’s geopolitical scores and Adrian Piper’s funk lessons, to a concert by a group that Hiwa K has assembled in Delme, the exhibition presents works that sketch diverse aural genealogies. Many of these artists share an interest in sonic archives; they collect, revive and generate recordings—whether unconventional, popular, politicised or dormant—and examine the ways in which these are circulated.

The title of the exhibition borrows a term coined by the Canadian composer and theorist R. Murray Schafer to describe “the split between an original sound and its electroacoustical transmission or reproduction.” In his book The New Soundscape (1969), Schafer explains that schizophonia “simultaneously implicates matters of music, money, geography, time, race and social class.” He also mentions that he wanted to use a “nervous word” deliberately linked to schizophrenia: “I wanted it to convey the same sense of aberration and drama.” If sounds, music and voices are timeless travellers, how do different political, cultural and social contexts change the way people hear and receive them? And, forty years after The New Soundscape, what does Schafer’s ‘aberration’ mean today?

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