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Toward Listening as a Curatorial Met...

Belford, Liora.

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Toward Listening as a Curatorial Method: Histories, Methodologies, Propositions.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Toward Listening as a Curatorial Method: Histories, Methodologies, Propositions./
作者:	Belford, Liora.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2021,
面頁冊數:	239 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-10, Section: A.
Contained By:	Dissertations Abstracts International82-10A.
標題:	Art history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28156084
ISBN:	9798597079264

Toward Listening as a Curatorial Method: Histories, Methodologies, Propositions.
Belford, Liora.

Toward Listening as a Curatorial Method: Histories, Methodologies, Propositions. - Ann Arbor : ProQuest Dissertations & Theses, 2021 - 239 p.

Source: Dissertations Abstracts International, Volume: 82-10, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2021.

This item must not be sold to any third party vendors.

From the 1960s through the 1980s, an ever-expanding exploration of sound occurred within the visual arts field, helping give birth to sound art (and its exhibition) as a unique genre. The number of sound art exhibitions has grown exponentially over time, reaching into major art institutions. Building on information gathered about more than 250 sound art group exhibitions from the 1960s to the present, involving works made by a number of artists/musicians, I recognized three main approaches for curating sound: The sonic image, the exhibition as spatial music, and musical composition for visual objects. This dissertation follows these three sound curating methodologies, their histories, and the propositions and influence they have contributed to the production, positioning, and reception of sound in art today.I start with a question: Why does the most common method for displaying multiple sound works (or works with sound) within the same gallery space invariably involve constraining these sounds with acoustic barriers to keep them separate? I maintain that this separation of sounds in museums follows how we see, and not how we hear. I argue that this method, which I have termed the "sonic image," is made in order to 'help' us experience sound works as we do visual objects-to hear a sound only when we see it. Since the sonic turn of the 1990s a few composers curated sound art group shows demonstrating an auditory approach to sound curation: the "exhibition as spatial music." Composing exhibitions as spatial music means addressing sound's materiality and applying listening philosophies into the intricacies of the exhibitionary. In doing so, these composers composed exhibitions which-like music-stimulate an inner subjective space within the listener.The third methodology-the "musical composition for visual objects"-belongs to John Cage, who composed three compositions for museum later in his life. By relating to objects as musical notes, and curating by using a musical score, Cage's exhibitions demonstrate that listening should not be limited to the sphere of sound, and thus methodologies informed by auditory perception can stimulate multiple layers of perception in the gallery.

ISBN: 9798597079264Subjects--Topical Terms:

2122701
Art history.
Subjects--Index Terms:

Composition for museum

Toward Listening as a Curatorial Method: Histories, Methodologies, Propositions.
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520 $a From the 1960s through the 1980s, an ever-expanding exploration of sound occurred within the visual arts field, helping give birth to sound art (and its exhibition) as a unique genre. The number of sound art exhibitions has grown exponentially over time, reaching into major art institutions. Building on information gathered about more than 250 sound art group exhibitions from the 1960s to the present, involving works made by a number of artists/musicians, I recognized three main approaches for curating sound: The sonic image, the exhibition as spatial music, and musical composition for visual objects. This dissertation follows these three sound curating methodologies, their histories, and the propositions and influence they have contributed to the production, positioning, and reception of sound in art today.I start with a question: Why does the most common method for displaying multiple sound works (or works with sound) within the same gallery space invariably involve constraining these sounds with acoustic barriers to keep them separate? I maintain that this separation of sounds in museums follows how we see, and not how we hear. I argue that this method, which I have termed the "sonic image," is made in order to 'help' us experience sound works as we do visual objects-to hear a sound only when we see it. Since the sonic turn of the 1990s a few composers curated sound art group shows demonstrating an auditory approach to sound curation: the "exhibition as spatial music." Composing exhibitions as spatial music means addressing sound's materiality and applying listening philosophies into the intricacies of the exhibitionary. In doing so, these composers composed exhibitions which-like music-stimulate an inner subjective space within the listener.The third methodology-the "musical composition for visual objects"-belongs to John Cage, who composed three compositions for museum later in his life. By relating to objects as musical notes, and curating by using a musical score, Cage's exhibitions demonstrate that listening should not be limited to the sphere of sound, and thus methodologies informed by auditory perception can stimulate multiple layers of perception in the gallery.
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