Sounding the Gallery argues that early video art is an audiovisual genre. The new video technology not only enabled artists to sound their visual work and composers to visualise their music during the 1960s: it also initiated a spatial form of engagement that encouraged new relationships between art / music practices and their audiences.
Sounding the Gallery argues that early video art is an audiovisual genre. The new video technology not only enabled artists to sound their visual work and composers to visualise their music during the 1960s: it also initiated a spatial form of engagement that encouraged new relationships between art / music practices and their audiences.
Holly Rogers is Lecturer in Music at the University of Liverpool. She has published on a variety of audiovisual topics including music and experimental cinema, visual music and composer biopics.
Inhaltsangabe
Introduction 1 Composing with Technology: The Artist-Composer 2 Silent Music and Static Motion: The Audio-Visual History of Video 3 Towards the Spatial: Music, Art and the Audiovisual Environment 4 The Rise of Video Art-Music: 1963-1970 5 Interactivity, Mirrored Spaces and the Closed-Circuit Feed: Performing Video Epilogue: Towards the Twenty First Century Index
Introduction 1 Composing with Technology: The Artist-Composer 2 Silent Music and Static Motion: The Audio-Visual History of Video 3 Towards the Spatial: Music, Art and the Audiovisual Environment 4 The Rise of Video Art-Music: 1963-1970 5 Interactivity, Mirrored Spaces and the Closed-Circuit Feed: Performing Video Epilogue: Towards the Twenty First Century Index
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