Product info

<p/><br></br><p><b> About the Book </b></p></br></br>An overview of how microphones and loudspeakers have changed music over the past 100 years through artistic experiments and innovation.<p/><br></br><p><b> Book Synopsis </b></p></br></br>Composers and sound artists have explored for decades how to transform microphones and loudspeakers from "inaudible+? technology into genuinely new musical instruments. While the sound reproduction industry had claimed perfect high fidelity already at the beginning of the twentieth century, these artists found surprising ways of use - for instance tweaking microphones, swinging loudspeakers furiously around, ditching microphones in all kinds of vessels, or strapping loudspeakers to body parts of the audience. <i>Between air and electricity</i> traces their quest and sets forward a new theoretical framework, providing historic background on technological and artistic development, and diagrams of concert and performance set-ups. From popular noise musician Merzbow to minimalist classic Alvin Lucier, cult instrument inventor Hugh Davies, or contemporary visual artist Lynn Pook - they all aimed to make audible what was supposed to remain silent.<p/><br></br><p><b> Review Quotes </b></p></br></br><br>Cathy van Eck takes us on a wondrous journey from pressure waves to electric currents and reveals behind the curtain of technology historical narratives, cultural ideologies and artistic imaginings that bring its norms and capabilities into a new light. Her book draws out insightful connections between standards and possibilities, and permits the timely questioning of technological determinism and instrumental inevitability.<br/>Salomé Voegelin, Author of Sonic Possible Worlds (2014), Listening to Noise and Silence (2010), and Associate Professor in Sound Arts at the London College of Communication, UAL, UK<br><br><i>Between Air and Electricity</i> fills a long standing niche. The text sets itself apart from the many technical books on microphones and loudspeakers, as Cathy van Eck gives refreshing and well-articulated insight into the artistic potential of working with these mediums.<br/>Katharina Rosenberger, Associate Professor, University of California San Diego, USA<br><br>In the hands of creative sound artists and composers, microphones and loudspeakers have challenged and changed our traditional definition of the musical instrument as well as the relationship of performance gesture to sound. Cathy van Eck's groundbreaking book systematically explores these alternative and radical new uses, finding four key approaches - 'reproducing - supporting - generating - interacting' - to help us navigate. Using a wide range of practical examples she shows how musicians and sound artists have explored this new found land which lies <i>Between Air and Electricity</i>. This book will be essential reading for practitioners and writers in music and media arts, as well as anyone interested in how things work in experimental art and music made with technology.<br/>Simon Emmerson, Professor of Music, Technology and Innovation, De Montfort University, Leicester, UK<br><p/><br></br><p><b> About the Author </b></p></br></br><b>Cathy van Eck</b> is a composer, sound artist, and researcher in the arts with an interest in relationships between everyday objects, human performers, and electronic sound. She holds a Ph.D. of Leiden University and is lecturer at the University of the Arts in Bern.

Price History