My contribution for The Bloomsbury Handbook of Sound Art

It’s out!
I am honoured to have a chapter in this new book edited by Sanne Krogh Groth and Holger Schulze.
My chapter “Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks” revisits the impact of 1960s-1970s Italian electronic music experiences in the light of their interdisciplinary experimentation opening up to Sound Art, and proposes the idea of a decolonization from the main electronic music church’s empire.
S2FM, SMET, NPS alongside the live electronics ensembles Gruppo di Improvvisazione Nuova Consonanza (1964), the MEV – Musica Electronica Viva group (1966), and the radical open-air exhibition/performance Parole sui muri (Words on walls) near Modena (1967-1968) are analysed. They introduced new artistic practices such as collaborative creation, anonymity, “multimedia” and “cross-media” events, and political engagement.


About The Bloomsbury Handbook of Sound Art

Buy the book here.

[From the official page] The Bloomsbury Handbook of Sound Art explores and delineates what Sound Art is in the 21st century. Sound artworks today embody the contemporary and transcultural trends towards the post-apocalyptic, a wide sensorial spectrum of sonic imaginaries as well as the decolonization and deinstitutionalization around the making of sound.

Within the areas of musicology, art history, and, later, sound studies, Sound Art has evolved at least since the 1980s into a turbulant field of academic critique and aesthetic analysis. Summoning artists, researchers, curators, and critics, this volume takes note of and reflects the most recent shifts and drifts in Sound Art–rooted in sonic histories and implying future trajectories.

Table of contents

Sound Art. The First 100 Years of an Aggressively Expanding Art Form (Sanne Krogh Groth, Lund University, Sweden, and Holger Schulze, University of Copenhagen, Denmark)
Part I After the Apocalypse. The Desert of the Real as Sound Art
1. The Sonic Aftermath. The Anthropocene and Interdisciplinarity after the Apocalypse (Anette Vandsø, Aarhus University, Denmark)
2. Composing Sociality. Toward an Aesthetics of Transition Design (Jeremy Woodruff, Istanbul Technical University, Turkey)
3. Dealing with Disaster. Notes toward a Decolonizing, Aesthetico-Relational Sound Art (Pedro J. S. Vieira de Oliveira, Sound Artist and Independent Scholar, Germany)
4. Vocalizing Dystopian and Utopian Impulses. The End of Eating Everything (Stina Marie Hasse Jørgensen, University of Copenhagen, Denmark)
Part II Journeys Across the Grid. Postcolonial Transformations as Sound Art
5. “Diam!” (Be Quiet!). Noisy Sound Art from the Global South (Sanne Krogh Groth, Lund University, Sweden)
6. Curating Potential. Migration and Sonic Artistic Practices in Berlin (Juliana Hodkinson, Royal Academy of Music, Denmark, in Conversation with Elke Moltrecht, Academy of the Art of the World, Germany, and Julia Gerlach, Freie Universität Berlin, Germany)
7. Four Artistic Journeys
i. Pockets of Communities (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Emeka Ogboh, Columbia’s Institute for Ideas and Imagination, France)
ii. Cairo Baby-Doll. Some Remarks on a Cairo Sound Art Scene (Søren Møller Sørensen, University of Copenhagen, Denmark)
iii. When I Close My Eyes Everything Is So Damn Pretty (Can’t Do the Thing You Want, Can’t Do the Thing You Want, Can’t Do the Thing You Want) (Samson Young, Composer and Artist, Hong Kong)
iv. Sound in Covert Places. Indonesian Sound Art Development through Bandung Perspectives (Bob Edrian, Institut Teknologi Bandung, Indonesia)
8. Sound Art in East and Southeast Asia. Historical and Political Considerations (Cedrik Fermont, Musician and Independent Scholar, Berlin, Germany, and Dimitri della Faille, University of Quebec, Canada)
Part III Come Closer … Intimate Encounters as Sound Art
9. Kiss, Lick, Suck. Micro-Orality of Intimate Intensities (Brandon LaBelle, University of Bergen, Norway)
10. Gender, Intimacy, and Voices in Sound Art. Encouragements, Self-portraits, and Shadow Walks (Cathy Lane, University of the Arts, London, UK)
11. Sonic Intimacies. The Sensory Status of Intimate Encounters in 3-D Sound Art (Sabine Feisst and Garth Paine, Arizona State University, USA)
12. Intruders Touching You. Intimate Encounters in Audio (Holger Schulze, University of Copenhagen, Denmark)
Part IV De-Institutionalize! Institutional Critique as Sound Art
13. Inquiring into the Hack. New Sonic and Institutional Practices by Paulina Oliveros, Pussy Riot, and Goodiepal (Sharon Stewart, Utrecht University, the Netherlands)
14. Outside and Around Institutions. Two Artistic Positions
i. Working in the Sounding Field (Annea Lockwood, Vassar College, USA)
ii. Conversations and Utopias (Holger Schulze, University of Copenhagen, Denmark, in Conversation with Mendi Obadike, Pratt Institute, USA, and Keith Obadike, William Patterson University, USA)
15. Audiogrammi of a Collective Intelligence. The Composers-Researchers of S2FM, SMET, NPS, and Other Mavericks (Laura Zattra, Francesco Venezze Conservatory of Music, Italy)
16. Sounding in Paths, Hearing through Cracks. Sonic Art Practices and Urban Institutions (Elen Flügge, Queen’s University Belfast, Northern Ireland)
Part V The Sonic Imagination. Sonic Thinking as Sound Art
17. The Sonic Fiction of Sound Art. A Background to the Theory-Fiction of Sound (Macon Holt, Goldsmiths, University of London, UK)
18. Women Sonic Thinkers. The Histories of Seeing, Touching, and Embodying Sound (Sandra Kazlauskaite, Goldsmiths, University of London, UK)
19. “Specific Dissonances.” A Geopolitics of Frequency (Alastair Cameron, Independent Scholar, UK, and Eleni Ikoniadou, Royal College of Art, UK)
20. A Universe in a Grain of Sound. The Production of Time and Fiction in Machinic Sound Art (Tobias Ewé, University of British Columbia, Canada)
Part VI Making Sound. Building Media Instruments as Sound Art
21. The Instrument as Theater. Instrumental Reworkings in Contemporary Sound Art (Sanne Krogh Groth, Lund University, Sweden, and Ulrik Schmidt, Roskilde University, Denmark)
22. From Turntable to Neural Net. Sound Art, Technoscience, Craft, and the Instrument (Chris Salter and Alexandre Saunier, Concordia University, Canada)
23. The Instrument as Medium. Phonographic Work (Rolf Großmann, Leuphana University of Lünenberg, Germany)
24. How to Build an Instrument? Three Artistic Positions–Articles and Interviews
i. Membrane. Materialities and Intensities of Sound (Carla J. Maier, Humboldt University of Berlin, Germany, in Conversation with Marianthi Papalexandri-Alexandri, Cornell University, USA)
ii. Pickups and Strings. On Experimental Preparation and Magnetic Amplification (Yuri Landman, Academy for Pop Culture, the Netherlands)
iii. Mechanics. From Physicality over Symbolism through Malfunction and Back Again (Morten Riis, The Royal Academy of Music, Aarhus, Denmark)

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