Sound Theaters of the 21st Century: Material Functions and Voltaic Performativities
https://doi.org/10.54103/sss16639
HTML
PDF

References

Barad, Karen. “Diffracting Diffraction: Cutting Together-Apart.” Parallax 20, no. 3 (2014): 168–87.

Cage, John, and Daniel Charles. For the Birds. Boston: Marion Boyars, 1981.

Charles, Daniel. “Music and Antimetaphor.” In Musical Signification: Essays in the Semiotic Theory and Analysis of Music, edited by Eero Tarasti, 27–42. Berlin: De Gruyter Mouton, 1995.

Crotty, Joel, and Cat Hope. “Speechless: An Operatic Response to Human Rights Abuses in Twenty-First Century Australia.” In Opera, Emotion, and the Antipodes Volume II: Applied Perspectives: Compositions and Performances, edited by Jane W. Davidson, Michael Halliwell and Stephanie Rocke, 75–89. London: Routledge, 2020.

Egan, Greg. Diaspora. London: Millennium, 1997.

Goebbels, Heiner. “The Sounds of Things.” In Sonic Thinking: A Media Philosophical Approach, edited by Bernd Herzogenrath, 87–97. New York: Bloomsbury, 2017.

Haraway, Donna. “Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective.” Feminist Studies 14, no. 3 (1988): 575–99.

Herzog, Werner. Scenarios, translated by Martje Herzog and Alan Greenberg. Minneapolis: University of Minnesota Press, 2017.

Hope, Cat. “The Future Is Graphic: Animated Notation for Contemporary Practice.” Organised Sound 25, no. 2 (2020): 187–97.

Hope, Cat. “Infrasonic music.” Leonardo Music Journal 19 (2009): 51–56.

Hope, Cat, and Lindsay Vickery. “The Aesthetics of the Screen-Score.” In Proceedings of CreateWorld 2010, edited by Michael Docherty, 48–57. Brisbane: Apple University Consortium, 2011. https://www.researchgate.net/profile/Lindsay-Vickery/publication/301787355_The_Aesthetics_of_the_Screen-Score/links/57283c8608ae586b21e2a0d1/The-Aesthetics-of-the-Screen-Score.pdf.

Hope, Cat, Aaron Wyatt, and Daniel Thorpe. “Scoring an Animated Notation Opera—The Decibel Score Player and the Role of the Digital Copyist in Speechless.” In Proceedings of the Fourth International Conference on Technologies for Music Notation and Representation–TENOR ’18, edited by Sandeep Bhagwati and Jean Bresson, 193–200. Montreal: Concordia University, 2018. https://www.tenor-conference.org/proceedings/2018/25_Hope_tenor18.pdf.

Hudak, John. “Fishing for Sound: An Interview with Takehisa Kosugi (1990).” In Takehisa Kosugi Interspersions, edited by René Block, 7–12. Berlin: daadgalerie, 1992. Exhibition catalog.

James, Stuart, and Lindsay Vickery. “Representations of Decay in the Works of Cat Hope.” Tempo 73, no. 287 (2019): 18–32.

Kahn, Douglas. “The Latest: Fluxus and Music.” In Sound, edited by Caleb Kelly, 28–42. Cambridge, MA: MIT Press, 2011.

Kazakura, Shō. “Mirukoto no oboegaki” [Memorandum of Seeing]. In Kazakura shō ten [Shō Kazakura Exhibition], edited by Kenji Ogami, 12–13. Ōita: Ōita Art Museum, 2002.

Kelly, Caleb. “Materials of Sound: Sound As (More Than) Sound.” Journal of Sonic Studies 16 (2018). https://www.researchcatalogue.net/view/456784/456785/0/0.

Kikuhata, Mokuma. “Kazakura Shō Taidan - Hapunā no kiseki” [A Conversation with Kazakura Shō - The Locus of a Happener]. Kikan 12 (1981): 5–32.

Kōji, Kawasaki. “Takehisa Kosugi no ongaku” [The Music of Kosugi Takehisa]. In Ongaku no pikunikku, [Music Picnic], 201–14. Ashiya City: Ashiya City Museum of Art and History, 2017. Exhibition catalog.

Kosugi, Takehisa. “Chikyū no oto wo kiku” [Listen to the Sound of the Earth]. In Kazakura shō ten [Shō Kazakura Exhibition], edited by Kenji Ogami, 8–10. Ōita: Ōita Art Museum, 2002.

Kosugi, Takehisa. Kazakura, “Mirukoto no oboegaki” [Memorandum of Seeing], in Kazakura shō ten [Shō Kazakura Exhibition], ed. Kenji Ogami (Ōita: Ōita Art Museum, 2002), 12–13.

LaBelle, Brandon. Background Noise: Perspectives on Sound Art. New York: Continuum, 2006.

McAuliffe, Sam, and Cat Hope. “Revealing Sonic Wisdom in the Works of Cat Hope.” Organised Sound 25, no. 3 (2020): 327–32.

Milligan, Kate B. “Identity and the Abstract Self in Cat Hope’s Speechless.” Tempo 73, no. 290 (2019): 13–24.

Paik, Nam June. “Sekai de mottomo mumei na yūmeijin” [The World’s Most Obscure Celebrity]. In Tokei no furiko, Kazakura Shō [Clock Pendulum, Kazakura Shō], 8–9. Kagawa: Sano Garō, 1996.

Priest, Gail. “The Now of History: Tomographic and Ficto-Critical Approaches to Writing About Sonic Art.” RE:SOUND 2019, 8th International Conference on Media Art, Science, and Technology, Aalborg, Denmark, 20–23 August, 2019. https://www.doi.org/10.14236/ewic/RESOUND19.9.

Suga, Akira. “Nichijō no Minaoshi” [Reconsideration of the Everyday]. In Neo-Dada Japan 1958–1998 - Arata Isozaki and the Artists of the “White House,” 150–59. Ōita: Ōita City Board of Education, 1998.

Wolff, Christian. “On Form.” In ‪Form—Space‬‬‬‬. Die Reihe 7, 26–31‬. Bryn Mawr: Theodore Presser, 1965.‬‬‬‬‬‬

Yamamoto, Atsuo. “Interview with Kosugi Takehisa.” In Takehisa Kosugi: World of Sound, New Summer, 2–27. Ashiya City: Ashiya City Museum of Art and History, 1996. Exhibition catalog.

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

Copyright (c) 2021 Gail Priest