Tacet #03 – From Sound Space

Introduction
Matthieu Saladin, Tracing Sound SpaceFLUX

Propagation and Perception
Alvin Lucier, The Propagation of Sound in Space. A Point of View (1979)
Kirsi Peltomäki, Outside the Walls: Navigating the Sensory in Michael Asherr’s Situations
Michael Asher, February 13–March 8, 1970, Gladys K. Montgomery Art Center at Pomona College Claremont, California

Political Spatiality of Sound
Seth Cluett, Acoustic Projection and the Politics of Sound
Jeffrey Mansfield, Space, Time and Gesture: Gestural Expression, Sensual Aesthetics and Crisis in Contemporary Spatial ParadigmsSound Art and Public Space
Michael Gallagher, Urban Listening and the Production of Space: Reflections on Tuned City Bruxelles
María Andueza Olmedo, Spatiality and Public Art. Thoughts on Sound and Urban Space From Listening to the Space to the Space of Listening
Arthur Stidfole, The Box Gets in Your Head: Clarity, Psycho-acoustics
Éric La Casa & Jean-Luc Guionnet, Home: handover (passation)
Christina Kubisch, About site-specific installations Documents
Maryanne Amacher, City Links; Adjacencies (selected archives)
Paul Panhuysen, Galaxie sonore (Sound Galaxy)
Yvan Etienne, Brice Jeannin, Matthieu Saladin, Sound Space Timeline (inserted poster)INFLUX
Douglas Kahn, Sound Art, Art, Music
Emmanuel Holterbach, Microphony, Landscapes, and Aural Illusion
Christian Wolff, “Experimental Music suggests the possibility of change”

REFLUX
Andrey Smirnov, Sound in Z, by Paul Hegarty
James Saunders (ed.), Ashgate Research Experimenal Music Companion, by Ivana Miladinović Prica
Makis Solomos, De la musique au son. L’émergence du son dans la musique des XXe–XXIe siècles, by Tom Mays

 

Tacet is a new research publication dedicated to sound arts and experimental music. Published annually and bilingually (French, English), its ambition is to create an interdisciplinary and international space of reflection for this practices, in all its aesthetic diversity. Tacet is part of the Ohcetecho series, dedicated to sound arts and experimental music, published by Les presses du réel (editorial board: Matthieu Saladin and Yvan Etienne).Tacet, as John Cage showed so well in 4’33“, designates a moment of silence observed by an instrumentalist during the whole period of a movement. By extension, it becomes, as the title of this publication, a moment of introspection, of reflectivity and reflection, where music interrupts itself to give way to research and theoretical questioning. Tacet aims, in this way, on the side of sound arts and experimental music, to contribute to the renewal of theoretical research by confronting and intersecting artists and musicians‘ speeches, studies coming from aesthetics and philosophy of art, from the critical renewal of musicology, from cultural studies and gender studies, from political thought, from social sciences and geography.