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Arcana is a series of interactive sound sculptures. Relying heavily on found and repurposed materials gathered in the Southern Illinois region, I will highlight the properties of objects associated with modes of performance. Natural materials, salvaged instruments, and sports equipment will be used to harness the tonal qualities of these found and assembled objects. This project was inspired by the writings and works of Harry Partch, Carl G. Jung, Benjamin Patterson, Robert Raucschenberg, Matthew Barney, Ralph Waldo Emerson, and Timothy Morton.

This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis / Master of Arts (Hons)

My diploma work is an installation, made from multiple instances of a device iniciating string resonance via electromagnetic field. These devices along with strings are placed on the wall in geometrical shape. Installation creates loop on multiple levels. Except the fact that installation have a circular shape, position of each string starts at the end of another string. Second, more inconspicious loops takes place in the electromagnetic device resonating the strings, that do that with feedback loop. Strings consist every step of chromatic scale, that repeats itself, just an octave higher. Amplification of the final sound of strings is done purely acoustically, with help of the wall on wich the piece is installed. This piece is in its nature concerned with spirituality in music, not necessarily in sense of evoking a spiritual experience, but rather demonstrating metaphors and parallels, that exists between physical aspects of tonal music and different religious ideas. The symmetrical shape of installation refer to religious and occult visuality, built f.e. in cabal on Fibonacci numbers, that is present not only in nature ( for example, the veins of the leaves grow by these numbers), but also in tonal music system (ancient philosophers were working with this concept, see Plato's Music of the Spheres). Strings in this piece produce drone sound, that is naturally evoking spirituality (most visible in buddhist monk meditation). This sound in the piece demonstrates immutability and constancy, the fact that all the chromatic tones are playing demonstrates wholeness (this fact may produce interesting resonances emerging between chromatic steps), so to speak, the unchangeable laws of physics, or to put it in religious lingo, the god law. The symbol of loop also refers to religion, like the eternal return of the same, the periodicity of history. Strings can be viewed as astrophysical symbol. Everything stated is nothing but my recourse, that should not ultimately determine the perception of the piece by viewer. The goal of the work is to offer experience without need to be put into context

acase@tulane.edu

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Thesis (M.A. (Hons.))--University of Western Sydney, Nepean, 1995. / Includes bibliographical footnotes. Bibliography: leaves [1-6].

This paper explores the `creative' process of postmemory in relation to family photographs, story telling, the absence of memory, and the subsequent construction of new and elastic family histories in my MFA thesis artwork. I define postmemory and how it relates to the limited number of existing photographs that document my family's experience as displaced persons and immigrants. I also discuss how literalist art has influenced the works in my thesis exhibition and outline the reasons for the absence of actual photographs in my work. Then, drawing from Freud's ideas of the condensation of dreams and the formation of screen memories, I discuss the relationship between historical family photographs, the memories elicited by them, and the act of forgetting to reveal the elasticity of truth in postmemory and how my work represents the beginnings of a personal understanding of a fragmented family history riddled with holes and unknowns. I also describe and discuss the two installation works found in my thesis exhibition, which are titled Descendant and Lineage. Finally, I outline the influence of other artists and describe how these ideas are tied together in my artwork.

Depuis sa démocratisation dans les années 1990, Internet est devenu un milieu technologique et symbolique d’échanges à échelle mondiale dans lequel les individus d’une grande partie de la planète se retrouvent. En effet, permettant à tout un chacun d’y accéder non seulement comme récepteur, mais également comme émetteur et producteur, ce milieu se présente depuis ses origines comme un milieu ouvert à la participation de chacun des utilisateurs. Cette propriété apparaît prometteuse pour des artistes qui depuis les années 1960 sont à la recherche de nouvelles formes à travers lesquelles provoquer la participation d’un public de plus en plus anesthésié par les médias de masse et le rapport de consommation qui lui est associé. À travers cette recherche, nous proposons d’aborder la question de la participation dans les dispositifs d’art sonore en réseau télématique dits participatifs. Terme employé pour qualifier un grand nombre d’activités, la notion de « participation » nous apparaît problématique à une époque où l’hypercontrôle est au coeur d’une société de plus en plus informatisée. Tenter de comprendre les enjeux en termes de participation de ces nouvelles formes apparues avec les réseaux télématiques nécessite de les inscrire auparavant dans un processus plus large qui est celui des transformations organologiques supportant et engendrant le processus d’individuation psychosociale à partir duquel est construite toute sensibilité. Pour cela, le concept de transindividuation proposé par Bernard Stiegler à partir de Gilbert Simondon, mais aussi d’André Leroi-Gourhan, nous paraît fondamental,car il permet d’inscrire la participation au sein d’un circuit qui dépasse les seules actions.Nous proposons ainsi d’étudier ces nouvelles formes d’art sonore en réseau au regard d’une histoire du circuit de la sensibilité musicale à partir de la notion de dispositif. Il s’agit de rediriger l’attention vers une organologie élargie, en étudiant les formes d’organisations spatiales,temporelles et relationnelles des différentes périodes historiques, dans l’objectif de dégager leur fonctionnement en termes de circuit de participation. L’étude de l’organologie propre aux dispositifs d’art sonore en réseau requiert d’un plus grand élargissement qui dépasse largement le cadre de la musicologie, ce qui nous conduit à importer des outils d’étude issus d’autres disciplines scientifiques. C’est en adoptant cette approche généalogique et organologique que les enjeux en termes de participation de ces nouvelles « formes dispositifs » peuvent être ainsi étudiés dans leur complexité. / Since its democratization in the 1990s, the Internet has become a technological and symbolic medium for global exchanges in which individuals from a large part of the world find themselves. Indeed, enabling everyone to access not only as receiver, but also as transmitter and producer, this environment presents itself from its origins as an environment open to the participation of each user. This property appears promising for artists who since the 1960s are looking for new forms through which to provoke the participation of a public increasingly anesthetized by the mass media and the relationship of consumption associated with it. Through this research, we propose to address the issue of participation in sound art devices in telematic networks known as participatory. A term used to describe a large number of activities, the notion of "participation" seems problematical to us at a time when hypercontrol is at the heart of an increasingly computerized society. To try to understand the stakes in terms of the participation of these new forms appeared with the telematic networks requires to include them before in a broader process which is that of the organological transformations supporting and generating the process of psychosocial individuation from which all sensitivity is constructed . To do this, the concept of transindividuation proposed by Bernard Stiegler from Gilbert Simondon, but also from André Leroi-Gourhan, seems fundamental to us, because it allows participation in a circuit that goes beyond actions alone. We propose to study these new forms of networked sound art in the light of a history of the circuit of musical sensitivity from the notion of device. It is a question of redirecting attention to an enlarged organology by studying the spatial, temporal and relational forms of the various historical periods, with the aim of identifying their functioning in terms of participation patterns. The study of the organology specific to the devices of sound art in network requires a greater enlargement that goes far beyond the framework of musicology, which leads us to import tools of study coming from other scientific disciplines. It is by adopting this genealogical and organic approach that the stakes in terms of the participation of these new "device forms" can thus be studied in their complexity.

Made available in DSpace on 2016-04-29T14:23:27Z (GMT). No. of bitstreams: 1 Carlos Eduardo Tsuda.pdf: 20138115 bytes, checksum: 226dd399b6e3802c0d3749b3b6ccc005 (MD5) Previous issue date: 2014-03-13 / Sound Art and Space: Aesthetics and New Poetic Possibilities (Goals) discusses the processes of hybridization between sound and space from a historical overview through areas such as music, architecture, visual arts, sound engineering and performance. Given the diversity of approaches to the topic, this dissertation intends to present alternative perspectives, focusing on the emergence of Sound Art. (Theoretical and Methodological Aspects) By dealing with changes in the ways of understanding sound, both in the world of contemporary music and in visual arts, the research describes different formats of the relationship between sound and space, which acquired new meanings in art installation after more recent experiments with sound. Moreover, it examines the forms of perception of sound and how they differ from other languages, since they imply specificities in their ways of spatialization. The concepts discussed here are applied in the analysis of relevant examples for the historical understanding of sound art and the relation between space and sound. (Results) These analysis serve as a theoretical basis for more in-­‐ depth case studies, in which the author reflects about his creativive process in different works, such as the sound creation and composition for the contemporary dance spetacle Branco and the sound installation Promenade / Arte Sonora e Espaço: Estética e Novas Possibilidades Poéticas (Objetivos) discute os processos de hibridização entre som e espaço, a partir de um percurso histórico por áreas como a música, a arquitetura, as artes visuais, a engenharia acústica e a performance. Diante da diversidade de abordagens sobre o tema, a dissertação busca relacionar as diferentes perspectivas a partir de um recorte baseado no surgimento da Arte Sonora. (Aspectos Teórico-­‐Metodológicos) Tratando das mudanças referentes às diferentes maneiras como o som passa a ser entendido, tanto no universo da música contemporânea como no das artes, a pesquisa intenta demonstrar como a relação entre som e espaço ganha novos sentidos diante das formas instalativas típicas nas experiências mais recentes com som. Além disso, examina diferentes modalidades de percepção do som, e de que modo estes diferem das demais linguagens, implicando em especificidades no que tocante às formas de espacialização. Os conceitos discutidos são aplicados na análise de exemplos pertinentes para o entendimento histórico da arte sonora e das relações entre som e espaço. (Resultados) Estas análises servem como ponto de partida para estudos de caso mais aprofundados em que o autor reflete sobre seu processo no desenvolvimento de obras, tais como a composição sonora para o espetáculo de dança contemporânea Branco e a instalação sonora Promenade