By Tony Gibbs
Sound is throughout. In video clips. On television. at the radio. Now the concept sound may be an inventive medium in its personal correct is shaking the paintings international. Written via an expert within the box, "The basics of Sonic Arts" "and Sound Design" describes and starts off the method of defining this totally new topic. subject matters coated contain new and radical ways to sound recording, functionality, install works and exhibitions, plus visits with sonic artists and sound designers. Designed for college students, but choked with intriguing examples of the foundations and perform of this new paintings shape, this ebook is at the innovative the place know-how and artwork meet.
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Additional resources for The Fundamentals of Sonic Art and Sound Design
Example text
I don’t use it all the time but if it’s necessary I do use it and you find that after you’ve used it, it’s added another dimension. In the piece with the ice, the metal plate was amplified – it had its own speakers attached so that was a necessary part of an open-air sculpture. I find that using amplification is great if it has a degree where it goes to zero – acoustic sound – and then up to amplification so the space is gradually filled. You don’t need to see what a computer is doing: it’s like with architecture.
Eds) (2004) Audio Culture: Readings in Modern Music. New York: Continuum. ORIGINS AND DEVELOPMENTS Sound Design Appears Introduction M SOUND DESIGN Sound design has a relationship to sonic arts that is quite similar to that of conventional design to art. Put simply, art seeks to represent and express ideas for their own sake. To do this, it engages with ideas, materials, media and forms of expression and communication. In this respect, it has a good deal in common with design save that design is less concerned with ideas for their own sake but sees them more as being applied to some purpose or other, be it typography, furniture, textiles or architecture.
ARTISTS AND THEIR WORK ‘THE SENSE OF HEARING CANNOT BE CLOSED OFF AT WILL. THERE ARE NO EARLIDS. WE ARE CONTINUALLY ABSORBING AND FILTERING THE SOUNDSCAPE. WHEN WE GO TO SLEEP, OUR PERCEPTION OF SOUND IS THE LAST DOOR TO CLOSE AND IT IS THE FIRST TO OPEN WHEN WE WAKE UP. THE EAR’S ONLY PROTECTION IS AN ELABORATE PSYCHOLOGICAL MECHANISM FOR FILTERING OUT UNDESIRABLE SOUND IN ORDER TO CONCENTRATE ON THE DESIRABLE. THE EYE POINTS OUTWARD AND THE EAR DRAWS INWARD. ’ JANEK SCHAEFER, ‘AUDIO & IMAGE’ 2 ART OR MUSIC?