Between Air and Electricity - by Cathy Van Eck (Paperback)
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<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.<br/><br/>www.microphonesandloudspeakers.com<p/><br></br><p><b> Review Quotes </b></p></br></br><br>The book was a combination of amazingly thoughtful critiques of pieces and techniques ... with new pieces and new ways of looking at (or listening to) equipment ... Anyone who is working in the area of sound art, interactive electronic composition or sound studies needs to read this book ... Van Eck brings a mature approach to the study of electronically produced sound, and I see a myriad of future scholarship written using the concepts and ontologies she developed for this book.<br/>SoundEffects<br><br>There is much to like about <i>Between Air and Electricity</i> ... An interesting feature of the book is a website ... There are a lot of examples and new text on the website, and one could spend numerous hours there alone.<br/>Journal of Sonic Studies<br><br>This is a genuinely fascinating and under-represented area of compositional research and activity, and the strongest portion of van Eck's book is the riveting overview of the repertoire.<br/>TEMPO<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.
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