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Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medium was able to record image and sound at the same time, which allowed composers to visualize their music and artists to sound their images. But as well as creating unprecedented forms of audiovisuality, video work also producedinteractive spaces that questioned conventional habits of music and art consumption. This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music.
Becoming commercially available in the mid 1960s, video quickly became integral to the intense experimentalism of New York City's music and art scenes. The medi
"This study brings together for the first time scholars of Christian, Islamic and Jewish art and music to reconstruct the complex intersection between art, arch
The unfolding influence of music and sound on the fundamental structure of the biomedical sciences, from ancient times to the present. Beginning in ancient Gree
In this delightful, phenomenological account, Kittelson writes in lively pursuit of the language of hearing, an ode to the persistent primacy of the ear. It's r
What makes a body of sound appear as an aesthetic object as well as a method for knowledge? In Sounding Bodies Sounding Worlds, Mickey Vallee argues that we mus
